Old Masters Portrait Photography

'Emergence' Limited edition archival photograph. Unframed, hand signed and numbered ________________________________ From your cocoon my darling, Your wings are emerging: Delicate ...

Delirium - 2019, 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL219-656 Kirs...

Chromogenic print Signed, dated, and numbered, verso 20 x 24 inches (Edition of 9) 30 x 40 inches (Edition of 5) This photograph is offered by ClampArt, located in New York City. ...

Framed, signed 9x12" print of Amy Winehouse taken at a laundromat in London by Jake Chessum. Frame measures 16.5 x 14/5 x 1" Framed in a simple black frame, matting and UV protected conservation clear glass Jake recalls the session: “I travelled from NYC to London in February 2004 to do a press shoot with Amy Winehouse. It was a classic February day: cold, wet, foggy and dark by about 4pm. We met at her flat and went to a few of her local haunts: a cafe, a launderette, Primrose Hill. The record company were very hands off and didn’t pressure us to do any particular set ups. We just went with the flow. She was really entertaining: funny, smart and cooly indiscreet. I am a huge jazz fan and I remember we talked about music, London and New York.” Jake grew...

Digital C-print Signed, dated, and numbered, verso 15 x 15 inches, image (Edition of 25) 22 x 22 inches, image (Edition of 15) 31 x 31 inches, image (Edition of 15) This photograph is offered by ClampArt, located in New York City. A stylistic precursor of such artists as Pierre et Gilles...

Paper size 44 x 35”, Image size 40 x 26.5" Limited Edition of 10 + 2AP’s On Thursday March 30th 1967 Frank Herrmann was despatched to Abbey Road Studios to cover a story on reco...

Waiting (Sidewinder) - 2005 48x47cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory No. 3173. Not ...

Guitar girl - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-919. Not moun...

I see you, 2016, Edition 1/7 plus 2 Artist Proofs Based on the Polaroid Digital C-print, not mounted. Signed on the back and with certificate. Artist inventory PL2017-114 This p...

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 36 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...

Signed limited edition 16.5" x 23" print of David Bowie by Brian Aris in 1991. Brian Aris limited edition prints, signed and numbered by Brian and carryin...

Before digital when cameras used only film, a roll of 36 would be processed to produce a strip of negatives. The long roll of negatives was then cut into strips of six, usually with ...