Monoprint Photography

Stampa su carta in bianco e nero del pugile Mike Tyson, con cornice

Thomas Monaster has photographed many great rock and roll legends like John Lennon, Bob Dylan, The Rolling Stones, Janis Joplin and Jimi Hendrix to name just a few. We are please to ...

Black & White Monochrome Photograph of a Female Nude by Contemporary by legendary American Photographer, Larry Colwell (1911-1972). Photo Size 9.5 x 6 inches - Signed on the rear Unmounted & Unframed Larry Colwell American, 1911-1972 Born 1911, Detroit, Michigan Died 1972, New Canaan...

Inflorescence is a cyanotype Work on paper by Cynthia MacCollum. This original artwork is 28 x 10 on archival paper. It is currently unframed. Macollum uses actual plants and flow...

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Phlox is a cyanotype Work on paper by Cynthia MacCollum. This original artwork is 22.5 x 15 on archival paper. It is currently unframed. Macollum uses actual plants and flowers as...

Yucca is a cyanotype Work on paper by Cynthia MacCollum. This original artwork is 31.5 x 8.5 on archival paper. It is currently unframed. Macollum uses actual plants and flowers a...

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Kate Petley's unique photogravure monoprints, made at Manneken Press in 2022, are a conversation between printmaking, sculpture and photography. Petley began by making a 3-D assembl...

Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of Fine Arts in Gdańsk (1999-2004). Diploma with special recognition in painting in 2004. The character of Magdalena Peszkowska's works Series Stand is like an poetic archive of memories, which call for a classification and reconstruction of the time of childhood and the intense experience of time with everything around it. Gdansk - where the artist comes from - becomes a mythical place, This city, with a very strong symbolic potential inherent in its history, needs editing from a single point of view. Magdalena Peszkowska uses her own photos or those from the family album. She transfers them to gray field blankets and camp beds with her own secret technology Then she paints on the used objects. Many of her objects show figures from the closest circle of Peszkowska, often it is herself, her family or places close to her in Gdansk. Her objects have intentional signs of use. The field blankets have a sewn-in wooden bar to hang them on the wall. The field military beds...

Individual technique on grey military blanket Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of F...

Individual technique on grey military blanket Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of F...

Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of Fine Arts in Gdańsk (1999-2004). Diploma with special recognition in painting in 2004. The character of Magdalena Peszkowska's works Series Stand is like an poetic archive of memories, which call for a classification and reconstruction of the time of childhood and the intense experience of time with everything around it. Gdansk - where the artist comes from - becomes a mythical place, This city, with a very strong symbolic potential inherent in its history, needs editing from a single point of view. Magdalena Peszkowska uses her own photos or those from the family album. She transfers them to gray field blankets and camp beds with her own secret technology Then she paints on the used objects. Many of her objects show figures from the closest circle of Peszkowska, often it is herself, her family or places close to her in Gdansk. Her objects have intentional signs of use. The field blankets have a sewn-in wooden bar to hang them on the wall. The field military beds...

Individual technique on grey military blanket Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of F...

Individual technique on grey military blanket Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of F...

Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of Fine Arts in Gdańsk (1999-2004). Diploma with special recognition in painting in 2004. The character of Magdalena Peszkowska's works is like an poetic archive of memories, which call for a classification and reconstruction of the time of childhood and the intense experience of time with everything around it. Gdansk - where the artist comes from - becomes a mythical place, This city, with a very strong symbolic potential inherent in its history, needs editing from a single point of view. Magdalena Peszkowska uses her own photos or those from the family album. She transfers them to gray field blankets and camp beds with her own secret technology Then she paints on the used objects. Many of her objects show figures from the closest circle of Peszkowska, often it is herself, her family or places close to her in Gdansk. Her objects have intentional signs of use. The field blankets have a sewn-in wooden bar to hang them on the wall. The field military beds...

Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of Fine Arts in Gdańsk (1999-2004). Diploma with special recognition in painting in 2004. The character of Magdalena Peszkowska's works Series Stand is like an poetic archive of memories, which call for a classification and reconstruction of the time of childhood and the intense experience of time with everything around it. Gdansk - where the artist comes from - becomes a mythical place, This city, with a very strong symbolic potential inherent in its history, needs editing from a single point of view. Magdalena Peszkowska uses her own photos or those from the family album. She transfers them to gray field blankets and camp beds with her own secret technology Then she paints on the used objects. Many of her objects show figures from the closest circle of Peszkowska, often it is herself, her family or places close to her in Gdansk. Her objects have intentional signs of use. The field blankets have a sewn-in wooden bar to hang them on the wall. The field military beds...

Individual technique on grey military blanket Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of F...

Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of Fine Arts in Gdańsk (1999-2004). Diploma with special recognition in painting in 2004. The character of Magdalena Peszkowska's works Series Stand is like an poetic archive of memories, which call for a classification and reconstruction of the time of childhood and the intense experience of time with everything around it. Gdansk - where the artist comes from - becomes a mythical place, This city, with a very strong symbolic potential inherent in its history, needs editing from a single point of view. Magdalena Peszkowska uses her own photos or those from the family album. She transfers them to gray field blankets and camp beds with her own secret technology Then she paints on the used objects. Many of her objects show figures from the closest circle of Peszkowska, often it is herself, her family or places close to her in Gdansk. Her objects have intentional signs of use. The field blankets have a sewn-in wooden bar to hang them on the wall. The field military beds...

Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of Fine Arts in Gdańsk (1999-2004). Diploma with special recognition in painting in 2004. The character of Magdalena Peszkowska's works Series Stand is like an poetic archive of memories, which call for a classification and reconstruction of the time of childhood and the intense experience of time with everything around it. Gdansk - where the artist comes from - becomes a mythical place, This city, with a very strong symbolic potential inherent in its history, needs editing from a single point of view. Magdalena Peszkowska uses her own photos or those from the family album. She transfers them to gray field blankets and camp beds with her own secret technology Then she paints on the used objects. Many of her objects show figures from the closest circle of Peszkowska, often it is herself, her family or places close to her in Gdansk. Her objects have intentional signs of use. The field blankets have a sewn-in wooden bar to hang them on the wall. The field military beds...

unique chromoskedasic monoprint on B&W photo paper 14 x 11 inches unframed 20 x 16 inches in black metal frame with non-glare glass This contemporary, abstract style chromoskedasic ...

Grid No.6, 2009 (Contemporary Framed Abstract Grid in Neutral Shades Black & Coffee) by Birgit Blyth 40" X 25" paper vertical chromoskedesic monoprint 44 x 29 inches framed, custom frame with black wood molding and anti-reflective glass This contemporary, abstract style chromoskedasic monoprint was created by experimental photographer, Birgit Blyth. Without the use of a camera, the artist produced this chromoskedasic image by applying the photographic chemicals to black and white photo pager and exposing it to light. The variety of caramel, toffee, brown and black tones is determined by the different chemicals used and the amount of time they are exposed to light. Here, the artist paints with the photographic materials in a gestural, linear motion. Beautiful hues of coffee, caramel, brown, grey, and black intersect to create unique abstract, intersecting grid patterns that resembles a basket weave motif. The photograph is complimented with a black metal frame with non-glare glass. It is equipped with sturdy wire on the back for instant and professional quality hanging. About the artist and work: Birgit Blyth is one of our most innovative and prolific photographers who works in a darkroom yet uses no camera! Blyth has been experimenting with a technique known as Chromoskedasic painting since the early ‘90s and variations on this concept have been shown at the gallery for the last 20 years. The unusual process involves the use of silver particles in black and white photographic paper to scatter light at different wavelengths when exposed. A chemist of sorts, Blyth demonstrates a thorough knowledge of how the various photographic chemicals will react when applied to paper and exposed. Each work is unique with palettes that resonate brilliant tonalities of brown, green, black, and purple. Using this technique, Blyth creates abstract crosshatching grids and most recently has developed a more gestural series of 20 x 16 inch chromoskedasic paintings that explores the ethereal qualities made possible by the unconventional material. Birgit Blyth succeeds at keeping her work fresh and cutting-edge using analog methods that are being quickly replaced elsewhere with digital technology. Though Birgit Blyth began her photographic career using conventional photographic methods, she quickly became more interested in alternative processes. In the mid 1990’s a colleague showed her an article in Scientific American and it was here that she first discovered the technique called “chromoskedasic” painting, which would eventually lead her to fully finding her voice as a photographer. Blyth had always aligned herself with and been moved by abstract expressionist painting. The series of veil paintings by post-abstract expressionist, Morris Louis, was especially inspiring to her and caused her to ask herself how she could do similar interpretations photographically. In “chromoskedasic” painting, she found the answers and would begin on a new path in her artwork. The term “chromoskedasic” is derived from Greek roots meaning color by light scattering. Developed by a photographer named Dr. Dominic Man-Kit Lam, this process exploits the capability of silver particles in black and white photographic paper to “scatter” light at different wavelengths when exposed to light and chemicals. In her mastery of this photochemical drawing process, Blyth has painted lush washes of color into her own “Veil Series;” she has envisioned landscapes, both rural and urban, with melting swirls and marbled colors into rich palettes of toffee and lead. She has used this essentially experimental process to help her “see” the world around her. Blyth says she continues to be fascinated by the process because it requires “a combination of discipline, experimentation, and imagination, making possible a wonderful balance between control and surprise.” Because the chromoskedasic work is all analog, Blyth spends much of her studio time in the darkroom, which has become a rarity in the current world of digital photography. She does however, continue her preference for experimentation in numerous directions, even employing aspects of the digital age – this exhibit will also feature a new series of pieces created with the now defunct but much loved SX-70 polaroid camera, scanned and archivally printed on 24” x 24” fine cotton rag paper. Whatever the process, Blyth’s work is, as the painter and poet, Peter Sacks noted, a blend of “precision and mystery, of articulation and atmosphere.” Her images leave us with the feeling of ongoing action despite the apparent stillness; of qualities both dreamy and stark as light hits a stand of birch trees in a valley or a group of buildings in New York City. As Morris Louis evolved a style of painting that produced a complete integration of paint and canvas, so too has Blyth, with photo paper and chemicals, created a perfect integration of method and content. Artist CV: Born: Kousted, Denmark Resident in U.S.A. since 1963 Education: Denmark and U.S.A. Project, Inc., Cambridge MA (Photography) DeCordova Museum School, Lincoln MA (Printmaking) Maine Photography...

This photograph is representative of two related series of mine that deal with humanity's impact on and relationship with the earth. This relationship is not sustainable. Lately, I have begun to dream of our tortured earth with the remains of our hubris drifting through space, mined to extinction. This work is an attempt to tear through the ugliness of the world we have made, through the blindness of our voracious appetite to the vastness beyond, where beauty cares not for our perception of it. As Robinson Jeffers wrote: “The beauty of things was born before eyes and sufficient to itself; the heartbreaking beauty/ Will remain when there is no heart to break for it.” -- William Lesch

New for 2018 we are please to present Ceravolo's "Alphabet Series" of iconic portraits. Ceravolo has been a master of creating intriguing portraits of iconic personalities for more t...

unique chromoskedasic monoprint on B&W photo paper 14 x 11 inches unframed 20 x 16 inches in black metal frame with non-glare glass This contemporary, abstract style chromoskedasic ...

unique chromoskedasic monoprint on B&W photo paper 14 x 11 inches unframed 20 x 16 inches in black metal frame with non-glare glass This contemporary, abstract style chromoskedasic ...

Unique chromoskedasic monoprint on photographic paper 22 x 18 inches framed This contemporary, abstract style chromoskedasic monoprint was created by experimental photographer Birgi...

Unique chromoskedasic monoprint on photographic paper 22 x 18 inches framed This contemporary, abstract style chromoskedasic monoprint was created by experimental photographer Birgi...

Patty deGrandpre’s “Passing Through” is a one of a kind eloquent 13 x 11.5 inch abstract monoprint . Striations and fields of warm pinks and oranges are inkjet printed in layers onto...

20 x 16 inches Unique chromoskedasic monoprint on black and white photo paper with gloss finish This contemporary, abstract style chromoskedasic monoprint was created by experimenta...

Unique chromoskedasic monoprint on photographic paper 22 x 18 inches framed This contemporary, abstract style chromoskedasic monoprint was created by experimental photographer Birgi...

Unique chromoskedasic monoprint on photographic paper 22 x 18 inches framed This contemporary, abstract style chromoskedasic monoprint was created by experimental photographer Birgi...

Unique chromoskedasic monoprint on photographic paper 22 x 18 inches framed This contemporary, abstract style chromoskedasic monoprint was created by experimental photographer Birgi...

Chromoskedasic monoprint 22 x 18 inches framed This contemporary, abstract style chromoskedasic monoprint was created by experimental photographer Birgit Blyth. Without the use of a...

15 x 12 inches in black metal frame with non-glare glass Unique chromoskedasic monoprint on black and white photo paper, gloss finish This contemporary, abstract style chromoskedasi...

20 x 16 inches Unique chromoskedasic monoprint on black and white photo paper with gloss finish. This contemporary, abstract style chromoskedasic monoprint was created by experimen...

20 x 16 inches Unique chromoskedasic monoprint on black and white photo paper with gloss finish This contemporary, abstract style chromoskedasic monoprint was created by experimenta...

20 x 16 inches Unique chromoskedasic monoprint on black and white photo paper with gloss finish This contemporary, abstract style chromoskedasic monoprint was created by experimenta...

Chromoskedasic monoprint 15 x 12 inches framed 10 x 8 inches unframed This contemporary, abstract style chromoskedasic monoprint was created by experimental photographer Birgit Blyt...

Swept Away 4 ( Unique Gestural Abstract Camerless Photograph in Black and Pink) Abstract photograph, chromoskedasic monoprint 20 x 16 inches 28 x 24 inches framed, custom black wood,...

Abstract camera-less photograph Neutral palette on white Unique chromoskedasic monoprint on black and white photo paper mounted on foamboard 20 x ...

Abstract chromoskedasic monoprint on black and white photo paper mounted on aluminum 40 x 18 x 1.5 inches framed This contemporary, abstract style chromoskedasic monoprint was creat...