Portrait Photography

Portrait of Amedeo Nazzari is a vintage black and white photograph realized in the 1970s. Good conditions.

Vintage Photo of Statue is a vintage silver salt  photograph realized in the early 20th Century.  Good conditions and aged.

Slim Aarons Inga Lindgren And Poodles 1956 (printed later) Silver gelatin print estate signature stamped edition of 150 with certificate of authenticity Swedish model Inga Lindgren...

The Old Days  Photo - Horse is a black and white vintage photo, realized in the early 20th century.  It belongs to historical album including historical moment, royal families, and ...

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...

Anna Magnani is a vintage black and white photograph realized in the 1960s. Good conditions.

The Trout is a vintage black and white photograph realized in the 1960s. Good conditions.

Jean-Paul Belmondo is a vintage black and white photograph realized in the 1960s. Good conditions.

Emilio Lussu is a vintage black and white photograph realized in the 1960s. Good conditions.

Robin Williams in Peter Weir's Dead Poets Society is a vintage black and white photograph realized in 1987. Good conditions.

Horses is a vintage black and white photograph of an artwork, realized in the late 19th Century. Good conditions with cut aways. 

Michael Mardikes Behind Smoke (Thomas Hart Benton Plate #29) Year: 1956, 2021 Archival Pigment Print on Premium Rag Image Size: 13.5x19 in Paper Size: 17x22 in Edition: 7 Monogrammed...

Vintage Photo- Meeting Grandma,  Galleria Hautmann, Florence is a vintage photograph realized in the early 20th Century. Edition by Alinari.

Massimo Salvadori e Rosario Villari is a vintage black and white photograph realized in the 1970s. Good conditions.

Oscar winner Dustin Hoffman at Academy Awards is a  vintage photo, realized in the 1989. The artwork is a well-balanced composition.

The Old Days - Florence is a black and white vintage photo, realized in the early 20th century.  It belongs to historical album including historical moment, royal families, and poli...

Photo of Martine Brochard is a vintage black and white photograph realized in the 1970s. Good conditions.

Italian Fascism Era - Litwinoff - Mussolini is a  vintage photo, realized in the 1930s . By Agence Trampus.

Each year, Robin Rice celebrates a Salon style exhibition to showcase her gallery artists and invite new ones. With Robin’s extensive experience as a gallery curator, all Robin Rice Gallery...

Fishermen in Napoli is a vintage photo, realized in the Early 20th Century. Fair condition.

Vintage Photo. The Italian actress and singer Loretta Goggi with Daniele Formica.

Portraits is a vintage black and white photograph realized in the early 20th Century. Good conditions.

Emilio Lussu is a vintage black and white photograph realized in the 1960s. Good conditions.

Architecture and Art Photo - S. Agata by Bellini is a black and white vintage photo, realized in the 1920s. It belongs to masterpiece of art and architecture album meticulously captu...

Architecture and Art Photo - Last Supper by Tintoretto is a black and white vintage photo, realized in the 1920s. It belongs to masterpiece of art and architecture album meticulously...

Marco Bellocchio is a vintage black and white photograph realized in the 1980s. Good conditions.

Osvaldo Salas, widely recognized as one of the world’s great press photographers, was born in Havana, Cuba in 1914. At the age of fourteen, he left Havan...

San Francisco is a vintage photograph realized in the 1960s. Good conditions. The artwork is realized in a well-balanced composition.

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

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...

Women Working - Historical Photos is a vintage black and white photograph realized in the 1960s in Italy, it belong to album of women rights, protests, manifestation for their right ...

Alitalia - Historical Photos  - Rome Branch of San Paolo is a vintage photograph realized in the 1970s. This photo belongs to a precious testament album of Italian airline. Good co...

Vintage Photo of Painting - Still Life is a vintage photograph realized in the early 20th Century.  The photo belongs to Albumen of historical painting, photographs, meticulously ca...

Old Days - Gathering is a  vintage photo, realized in the Mid-20th Century . The artwork is a well-balanced composition.

Pope Giovanni Paolo II and General Wojciech Witold Jaruzelski is a vintage black and white photograph realized in 1987. Good conditions.

Tiber - Historical Rome in black and white vintage photo of a painting, realized in the early 20th century. It belongs to historical album including photo of historical events and pl...

Printed on photographic paper, matt pearl finish. Excellent condition.

Old Days - Early Portrait of Sculptor Aurelio Mistruzzi is a  vintage photo, realized in the late 19th Century. The artwork is a well-balanced composition.

Architecture and Art Photo - By Tiepolo, Venice is a black and white vintage photo, realized in the 1920s. It belongs to masterpiece of art and architecture album meticulously captur...

Cesare Marchi is a vintage black and white photograph realized in the 1980s. Good conditions.

Marina Marfoglia is a vintage black and white photograph realized in 1978. Good conditions.

A Scene of the Film Au revoir les Enfants is a vintage black and white photograph realized in the 1987. Good conditions.

Old Days - Portrait of Sculptor Aurelio Mistruzzi is a  vintage photo, realized in the Mid-20th Century . The artwork is a well-balanced composition.

Historical Photo - Portrait of Fred Clark is a vintage photo, realized in the late 19th Century by John Watkins Studio. The artwork is a well-balanced composition.

Historical Photo  - Kim Il Sung vintage photo, realized in the 1970s. The artwork is a well-balanced composition.

Omiccioli and Villoresi in Vetrina di Chiurazzi is a vintage leaflet, realized in 1953. The artwork is a well-balanced composition.

Photo of Marina Malfatti  is a vintage black and white photograph realized in the 1970s. Good conditions.

Portrait of Edward VII and Alexandra - Forth Bridge is a black and white vintage photo, realized in the early 20th century. It belongs to historical album including masterpieces of h...

Portrait Herbert von Karajan  is a photograph realized in the 1980s. Good conditions.

Historical Photo - Portrait  of Nicola Miraglia is a  vintage photo, realized in the late 19th Century by F. Brandseph, Stuttgart. The artwork is a well-balanced composition.

Historical Photo - Portrait of Louis Veuillot (1813-1883) is a vintage photo, realized in the late 19th Century . The artwork is a well-balanced composition.

Historical Photo is a  vintage photo, realized in the 1970s. The artwork is a well-balanced composition.

Historical Photo is a  vintage photo, realized in the 1980s. The artwork is a well-balanced composition.

Architecture and Art Photo - San Zaccaria Church is a black and white vintage photo, realized in the 1920s. It belongs to masterpiece of art and architecture album meticulously captu...

Fred Bongusto and Maurizio Costanzo - Vintage Photograph is a vintage black and white photograph realized in the 1970s. Good conditions.

Vintage Photo. The Italian actress Laura Belli in a scene from "Gamma", by Salvatore Nocita.

Meeting between Bettino Craxi and Felipe Gonzalez- is a vintage black and white photograph realized in the 1980s. Good conditions.

Anna Oxa and Fausto Leali is a vintage black and white photograph realized in 1989. In the Phoo : Eurovision of 1989 in Laussane, Anna Oxa and Fausto Leali. Good conditions.