1990s Photography

Framed in a plexiglass and black wood. Hand printed by artist. Famous Location in Carmel. Comes with his self published book!

New York City Ballet dancer Wendy Whelan in ‘Swan Lake’, 1993. Vintage silver gelatin exhibition photograph made by Jack Mitchell. Signed by Jack Mitchel...

Nan Goldin (b. 1953) is one of the most influential, yet arguably underrated, photographers of the 20th century. Beginning in the 1970's Goldin took candid shots of her friends and l...

Signed limited edition photographic print of Nirvana's Kurt Cobain, Dave Grohl and Krist Novoselic by underwater photographer Kirk Weddle, taken during the...

Massimo Listri Biblioteca di Admont, Austria, 1994 Chromogenic Lambda print Edition of 5 Signed, dated, and eiditoned on verso The library hall at Admont Abbey was built in 177...

This refined black and white photograph by Gérard Uféras offers an intimate view of Christian Lacroix haute couture, spring-summer 1999, in Paris. The composition focuses on the back...

Tim Engelland (American, 1950-2012) Last Call, 1993 Woodcut 9 x 12 in. Signed dated lower right: 1993 T. Engelland Titled and numbered bottom: Last Call, 40/125 A lifelong artist, Engelland specialized in oil portraits and landscapes, and also worked extensively in woodcuts and linocuts. He was born on Jan. 5, 1950, in Ames, Iowa, the son of Charles Wilbur “Will” Engelland and Patricia Fairman Engelland.. Tim grew up in Terre Haute, IN, attending Fairbanks Elementary School and Indiana State University’s Laboratory School. He knew he wanted to be an artist from an early age, and was mentored by Lab School’s John Laska, graduating in 1968. He received a BFA from Temple University’s Tyler School of Art; was a Norfolk Fellow at Yale University; and received his MFA from Cornell University, teaching there for two years after graduation. He spent the majority of his career, from 1976-2004, at Deerfield...

Polaroid transfer on Rives BFK paper Signed, titled, 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 CLAMP, located in New York City. Mark Beard writes: “I asked Robert Mapplethorpe to take me to the ‘Mine Shaft,’ a famous S&M club. He agreed but told me it was finished and boring. We made Christmas trees together for New York Magazine. He asked to make nude...

High Noon - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #349. Sig...

An original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘ Emily ‘ who was captured on film in 19...

Signed limited edition photographic print of Kurt Cobain, Dave Grohl and Krist Novoselic of Nirvana by photographer Kirk Weddle. Outtakes from photograph...

Los Carpinteros (Cuban, 1992-present). Silver gelatin print photograph, large format. From the series "Tuneles Populares" (The People's Tunnels) 1999 Edition 1/5 Provenance: Bliss Fi...

16 x 20" vintage silver gelatin photograph of dancer/choreographer Mikhail Baryshnikov, 1993. It is signed by Jack Mitchell on the recto and in pencil on the verso. Comes directly fr...

11 x 14" vintage silver gelatin photograph of Paul Taylor Dance Company in performance, 1992. Comes directly from the Jack Mitchell Archives with a c...

Buried (Stranger than Paradise) - 1999 Edition of 10, 58x56cm, Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Artist inventory N...

River Phoenix Signed, titled, dated, numbered, and inscribed, recto Gelatin silver print (Edition of 5) 24 x 20 inches This work is offered by ClampAr...

Ellen Kogan performing a tribute to Ruth St. Denis choreography in 1994, signed by Jack Mitchell, taken for The New York Times. This is an 8 x 10" vintage silver gelatin photograph t...

A contemporary color photograph by Jean-Michel (JM) Voge, Tree, 1996 is a portrait of Surma Tribe boys from the Omo Valley in Ethiopia, Africa. This is an...

Atlas Shrugged 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Not mounted.

body of work: “Sentiment and Vagrancy” series: “Dresden Pre Occupation” medium: Ink Jet print on Arches size: 28″ h x 30″ w Kevin Hanley was born 1969 in Sumter, South Carolina and...

11 x 14" vintage silver gelatin photograph of dancer/choreographer Blondell Cummings. Signed by Jack Mitchell on the print verso. Comes directly from the Jack Mitchell Archives with ...

Banya - Signed limited edition archival pigment print, 1998 - Edition of 5 A Basset Hound with her friend in a French café This image was captured on film. The negative was s...

Her Majesty Queen Elizabeth II, 1990 C print Estate signature stamped and numbered edition of 50 "I knew months in advance that I was going to take her portrait. And for months, I'd...

The Accident - The Getaway (The Last Picture Show) - 2000 20x25cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #341. ...

Gelatin silver print (Edition of 6) Signed, dated, and numbered, verso 15 x 15 inches, image This photograph is offered by ClampArt, located in New York City. Price includes framing.

Albert WATSON (*1942, Scotland) Talisa Sato, Naples, Italy, 1990 1990 Archival pigment print Image 142 x 107 cm (55 7/8 x 42 1/8 in.) Edition of 10, plus 2 AP Print only Albert Wa...

Kate Moss Unitard, 1993 Silver Gelatin Print 30 x 30 inches Edition of 50 Cosigned by Terry O'Neill and Kate Moss Portrait of English fashion model Kate Moss, 1993. Terry O'Neill ...

Sepia-toned gelatin silver print Signed and numbered, verso 24 x 20 inches, sheet (Edition of 35) 39 x 26 inches, sheet (Edition of 15) This photograph is offered by ClampArt, located in New York City. “Horenstein’s creatures are decontextualized. They appear without the backdrop of the natural landscape, outside even the artificial world of the zoo or aquarium, and devoid of their true color. As a consequence, the images are truly arresting; and in both a literal and a metaphorical sense, we see these animals as we have never seen them before. We notice details, and Horenstein focuses our vision on the unexpected: the foot of an elephant, the eye of an octopus, the hair on the back of a gibbon’s head, the pattern of feathers on a bird’s neck. He plays with scale: the rear end and tail of a rhinoceros occupy the entire picture frame. We see these as if through a magnifying glass. His pictures challenge us to look more closely, to ask questions and make connections. We think about form and function: the relationship between an elephant’s foot, a horse’s hoof, and our own toes. We ponder modes of sensing and communication: the signals that hold together a school of fish. Examining these photographs, we become scientists and discoverers. “In some respects, Horenstein’s work continues a centuries-old tradition of natural history illustration in the realm of photography. In natural history illustration, animals are often presented in shallow space with limited landscape, sometimes even against a blank page, in order to promote close examination and study of detail. But as much as these photographs promote scientific inquiry, they are more than scientific illustration. Animals were the subjects of our first art and our first metaphors; and freed from the constraints of space and time, many of Horenstein’s creatures remind us of the lost magical connection between the ‘animal world’ and our own. They are unsettling and they mesmerize. They transcend and transgress familiar boundaries between subject and object. Who is observing whom? The Komodo dragon looks at us with piercing eyes. We’re transfixed by the gaze of the harbor...

"Schnitzel Please!" This timeless, charming photo of a town favorite Dresden Dog, was captured by New York based photographer Fernando Natalici in Germany in 1999. Archival Inkjet ...

This is a photograph of a stack of playing cards by Ralph Gibson. This image, produced as a chromogenic print, is offered by CLAMP in New York City.

Archival pigment print Signed, titled, numbered, and dated, verso 17 x 11 inches, sheet (Edition of 15) 22 x 17 inches, sheet (Edition of 15) This photograph is offered by ClampAr...

Faye Dunaway Oscar Outtake (Stare) Los Angeles 1977 (printed later C-print 40 x 40 inches Signature stamped and numbered edition of 50 with certificate of authenticity from the Terr...

Ann Ray Insensé, 1998 Silver gelatin print Framed Dimensions: 22 1/8 x 17 1/8 inches (56.2 x 43.5 cm) Image Dimensions: 15.75 x 11.81 inches (40 x 30 cm) Edi...

Palazzo Ducale, Massa, Italy, 1999 Chromogenic print 120 x 150 cm Edition of 5 Italian, b. 1954, Florence, Italy, based in Florence, Italy Massimo Listri travels his native Italy an...

John Baldessari Love and Work 1991: Baldessari’s Love & Work 1991, photogravure and color aquatint, features clasped hands clutching surrealistically amidst a black background. Classic, timeless Baldessari imagery that is sure to work well in any setting. Medium: Color photogravure and aquatint on wove paper. 1991. Dimensions: 26 x 11.5 inches. Well-preserved and in very good overall condition. Framed in acrylic plexiglass. One of the 15 numbered artist's proofs, aside from the general edition of 60. Signed, inscribed "A.P." and numbered 12/15 in pencil, lower margin. Published by Brooke Alexander, Inc., New York. Collections: MoMa New York John Baldessari: It is hard to characterize John Baldessari's varied practice—which includes photomontage, artist’s books, prints, paintings, film, performance, and installation—except through his approach of good-humored irreverence. Baldessari is commonly associated with Conceptual or Minimalist art, though he has called this characterization “a little bit boring.” His two-dimensional works often incorporate found images, composed in layers or presented as distinct pieces with an element of surprise, like a brightly colored geometric shape in the place of a face or a starkly printed sardonic caption. Baldessari has demonstrated a lasting interest in language and semantics, articulating these concerns through the use of puns or the juxtaposition of seemingly unrelated images and words, as in his 1978 work Blasted Allegories. His self-referencing photomontages and use of text have been sources of inspiration for countless artists, including Cindy Sherman, David Salle, and Barbara Kruger. Baldessari identifies his own artistic lineage, saying, "I would prefer to go to the source with Duchamp rather than credit Warhol as an influence." Related Categories: Surrealist. Ed Ruscha. Los Angeles. Conceptual art. Photography. Minimalist. John Baldessari prints.

Gelatin silver print Stamped and numbered, verso 14 x 11 inches, sheet (Edition of 15) 20 x 16 inches, sheet (Edition of 10) 24 x 20 inches, sheet (Edition of 10) From the series...

BEYOND DECORUM, CLOSED AND OPEN Series, I am selling each individually. they are pairs of open and closed jackets. I will include the second photo for reference. This listing is just for the closed jacket photograph. Vintage C-print on Fuji crystal archive paper. Image size is 40 x 30", sheet measures 50 X 32 Provenance: printed by Muse X, Los Angeles. I believe these were test, proof prints. They are not signed or editioned The work of Nigerian-born Iké Udé explores a world of dualities: photographer/performance artist, artist/spectator, African/post-nationalist, mainstream/marginal, individual/everyman and fashion/art. Iké Udé (born 1964) is a Nigerian-American photographer, performance artist, Ike Ude was born in 1964 in Lagos, Nigeria where he was raised. The eldest son of a wealthy family, he was exposed to photography and portraiture at an early age by dressing up for biweekly family portraits. Udé knew he was an artist by the age of six, when he developed a habit of firing a catapult at passers-by when he disapproved of their walk or the way they were dressed. As an adolescent, Udé attended the Government Secondary School, a British boarding school in Afikpo Nigeria. He was a habitué of London before he moved to New York in 1981 to study Media Communications at Hunter College, CUNY. He began his art career in the late 1980s with abstract painting and drawing. Since the 1990s, photography has been his primary medium. Udé is a dual citizen of the United States and Nigeria. Udé's paintings and drawings are less well known than his photography, though critics and art historians have recognized his early work. The late Henry Geldzahler, said of Udé's paintings and works on paper: "I am touched and amazed at the ways in which he manages to blend invisibly the modernist tradition with his own Nigerian roots. There is never anything forced in the conjunction; air and light seem to be his media." Udé began his Cover Girls series in 1994. Each photograph imitates the cover of a popular fashion or lifestyle magazines, in which the artist himself is featured as the model. (ala the work of Cindy Sherman) The photographs were consciously stylized, posed, photographed and then paired with type matching that of the respected magazine. At first glance, each photograph appears to be an authentic magazine cover. Udé used the magazine cover as a stage to critique the fetishism of the upper class white model and the effects of popular culture on today's consumerist society. The series was exhibited in 1994 in the New York City gallery Exit Art. Udé's black and white series of photographs, Uli, references both high fashion and Uli body art, wall motifs from Udé's Igbo heritage. The photographs explore the anonymity of the inscribed and disembodied self. Udé's dynamic use of light, namely the chiaroscuro effect, serves as a critical compositional element in the series. Udé's Beyond Decorum series, begun in 1999, juxtaposes photographs of men's shirts and women's pumps with suggestive personal advertisements in place of the clothing tags. With its accompanying book, Beyond Decorum: Photographs by Iké Udé, the series traveled across the United States and Canada. The exhibition was shown at the Institute of Contemporary Art in Portland, Maine; OBORO in Montreal, Canada; Sert Gallery; Carpenter Center at the Harvard University Art Museum; and MAK Museum in Vienna, Austria before traveling for two more years internationally. Udé's Paris Hilton: Fantasy and Simulacrum is a conversation between his alter ego, Visconti, and the celebrity Paris...

This black-and-white photograph by Michel Comte presents a portrait of the well-known Hollywood actress Sharon Stone, captured in a moment of heightened expression behind a chain-lin...

A player striking near the goalposts during a polo match, Buenos Aires, 1990. Polo In Buenos Aires (The Match, 1990) 1990, printed later C-Type Print Estate-stamped and hand-number...

Sepia-toned gelatin silver print Signed and numbered, verso 20 x 24 inches, sheet (Edition of 35) 26 x 39 inches, sheet (Edition of 15) This photograph is offered by ClampArt, located in New York City. “Horenstein’s creatures are decontextualized. They appear without the backdrop of the natural landscape, outside even the artificial world of the zoo or aquarium, and devoid of their true color. As a consequence, the images are truly arresting; and in both a literal and a metaphorical sense, we see these animals as we have never seen them before. We notice details, and Horenstein focuses our vision on the unexpected: the foot of an elephant, the eye of an octopus, the hair on the back of a gibbon’s head, the pattern of feathers on a bird’s neck. He plays with scale: the rear end and tail of a rhinoceros occupy the entire picture frame. We see these as if through a magnifying glass. His pictures challenge us to look more closely, to ask questions and make connections. We think about form and function: the relationship between an elephant’s foot, a horse’s hoof, and our own toes. We ponder modes of sensing and communication: the signals that hold together a school of fish. Examining these photographs, we become scientists and discoverers. “In some respects, Horenstein’s work continues a centuries-old tradition of natural history illustration in the realm of photography. In natural history illustration, animals are often presented in shallow space with limited landscape, sometimes even against a blank page, in order to promote close examination and study of detail. But as much as these photographs promote scientific inquiry, they are more than scientific illustration. Animals were the subjects of our first art and our first metaphors; and freed from the constraints of space and time, many of Horenstein’s creatures remind us of the lost magical connection between the ‘animal world’ and our own. They are unsettling and they mesmerize. They transcend and transgress familiar boundaries between subject and object. Who is observing whom? The Komodo dragon looks at us with piercing eyes. We’re transfixed by the gaze of the harbor...

This powerful black and white photograph by Gérard Uféras captures a close view of draped couture fabric held by elegant hands. The body is partially abstracted by folds of dark mate...

Albert WATSON (*1942, Scotland) Kate Moss (Veil), Marrakech, 1993 Archival pigment print Image 122 x 91,5 cm (48 x 36 in.) Sheet 142 x 107 cm (55 7/8 x 42 1/8 in.) Edition of 10, pl...

Paris, Elysées - Signed limited edition archival pigment print, 1998 - Edition of 5 This image was captured on film. The negative was scanned creating a digital file which was...

Radiant, expansive, and imbued with a sense of quiet narrative, this vivid photograph by Gérard Uféras, captured in 1993, transports the viewer into the heart of Mexico’s agave lands...

Albert WATSON (*1942, Scotland) Naomi in Morocco, 1998 Archival pigment print 142 x 107 cm (55 7/8 x 42 1/8 in.) Edition of 10, plus 2 AP Print only Drake purchased a series of Albe...

Limited Edition 10 More sizes on request The photographic work of the internationally well-known Austrian photographer Andreas H. Bitesnich is captivating by its beauty and aestheti...

An Unknown Kate Moss At 16 by Jake Chessum 1990 Oversize limited edition edition size 7 only this size printed 2021 Archival pigment print numbe...

Tina Turner On Stage 1990 - Dave Hogan Signed Limited Edition Tina Turner live on stage at Wembley Arena as part of her Foeirgn Affair: Farewell Tour, September 24-26 1990 photo Dav...

Signed on label, verso Vintage chromogenic contact sheet This work is offered by CLAMP in New York City.

Mint Condition Printed by artist Gifted to owner by Roman No Edition Serene Image Japanese Like

From his series SHADOW CARTOONS. Color iris print, hand initialed in pencil, This is not numbered. It is on Somerset watermarked archival paper Paper size is 30 X 22.25, images 22.7...

Selenium-toned gelatin silver print Signed, titled, dated, and numbered in pencil, verso Also blindstamped with artist's name and edition number, recto 8 x 8 inches, image size (Ed...

Tina Turner On Stage 1990 - Dave Hogan Signed Limited Edition Tina Turner live on stage at Wembley Arena as part of her Foeirgn Affair: Farewell Tour, September 24-26 1990 photo Dav...

Roman Loranc's most famous image. Retired Negative. 8x10 - Still powerful in this size. Gifted to owner by Roman. No edition number. Framed in Flat Black Metal Frame with plexiglas...

This is a photogravure by John Dugdale offered by CLAMP in New York City. 1999 Signed, titled, and numbered in pencil, verso Photogravure (Edition of 50) 15 x 13.5 inches (38.1 x...

HIROSHI SUGIMOTO (*1948, Japan) 357 Ionian Sea, Santa Cesarea 1987 Gelatin silver print Sheet 50.8 x 61 cm (20 x 24 in.) Edition of 25; Ed. no 1/25 For o...

Bill HENSON (*1955, Australia) Untitled #16 - AH SH4 N13, 2009/2010 Archival pigment print Sheet 127 x 180 cm (50 x 70 7/8 in.) Edition of 5, plus 2 AP's;...

Photographer Herb Ritts was pivotal in launching the career of Danish model Helena Christensen in the early 1990s. Working together on the 1994 Pirelli Cal resulted in this beach por...

Daddy G Massive Attack - Oversize Signed Limited Edition Print Daddy G (Grantley Marshall), DJ and founder of Massive Attack, poses while smoking Cover...

Signed, numbered and dated on the front of the mount recto. Signed, dated, numbered and titled with artist's copyright stamp on the back of the mount. Number 5 of 45. Printed in 1992...