Late 20th Century Still-life Photography

Eton College School Windsor England 1980s by Homer Sykes oversize 40x30 inches / 101 x 76 cm paper size signed limited edition print edition of 5 only this size printed 2022 Certificate of authenticity provided Homer Sykes Sykes's father, Homer Warwick Sykes, was a Canadian-born American of English extraction who worked for the China National Aviation Corporation in Shanghai; his mother, Helen Grimmitt, was Canadian-born and raised in Hong Kong. The couple were married in August 1947, but in June 1948, in an early stage of his wife's pregnancy, Homer was killed in an accident at Lunghua airfield. Helen returned to her family home in Vancouver, and the son was born three weeks later, in 1949.[1][2] When the boy's mother remarried in 1954, the family moved to England.[3] Homer was a keen photographer as a teenager, with a darkroom both at home and at boarding school. In 1968 he started a three-year course at the London College of Printing (LCP),[1][3] while sharing a house in St John's Wood.[4] In the summer vacation during his first year, he went to New York, and was impressed by the work of current photographers – Cartier-Bresson, Davidson, Friedlander, Frank, Uzzle and Winogrand – that he saw at the Museum of Modern Art.[3] Solo exhibitions "Traditional British Calendar Customs", Arnolfini Gallery (Bristol), 1977;[14] Side Gallery (Newcastle), 31 August – 25 September 1977.[15] "Shanghai Odyssey", Open Eye Gallery (Liverpool), 24 May – 20 June 2003.[14][16] Festival of Photography and Contemporary Art (Biella), 2005.[14] "On the Road Again", Hereford Town Hall (Hereford Photography Festival), 2002.[17] "Green Man and Friends, photographs from the 1970s", WPS (Hastings), 2009.[18] "England 1970–1980", Maison de la photographie Robert Doisneau (Gentilly, Paris), 27 June – 12 October 2014.[10][11][19][20] "My Britain 1970–1980", Les Douches la Galerie, Paris. 5 September – 31 October 2015.[21][22][23] "Once a Year – Homer Sykes", Lucy Bell Gallery, St Leonards-on-Sea, May–June 2021[24] Other exhibitions "Personal Views 1850–1970", British Council touring exhibition, 1970.[3] "Traditional Country Customs" (with work by Benjamin Stone), ICA (London), 1971.[3][14] "Young British Photographers", Museum of Modern Art (Oxford), 1971.[14] Exhibition of photographs by Stone and Sykes of festivals, customs and pageants, Southampton and Birmingham, 1973.[7] "Reportage Fotografen", Museum des 20. Jahrhunderts (Vienna), 1978.[14] "Il Regno Unito si diverte". British Council, Milan, 1981. With Chris Steele-Perkins and Patrick Ward.[25] "The Other Britain", National Theatre (London), and touring in Britain, 1982.[26] "A British Eye on the World", Museum of Modern Art (Rio de Janeiro), 1986.[14] "Viva, une agence photographique", Jeu de Paume (Paris), 2007.[27][28] "How We Are: Photographing Britain." Tate Britain (London), 2007.[29][30] "No Such Thing as Society: Photography in Britain 1968–1987", Aberystwyth Arts Centre; Tullie House (Carlisle); Ujazdów Castle (Warsaw).[31] "Unpopular culture." De La Warr Pavilion (Bexhill), 2008.[32] "The Other Britain Revisited: Photographs from New Society", Victoria and Albert Museum, 2010.[26] "Goodbye London: Radical art and politics in the seventies", Neue Gesellschaft für Bildende Kunst (Berlin), 26 June – 15 August 2010. With Stuart Brisley, Victor Burgin, David Hall, Margaret Harrison, Derek...

Clam - Signed limited edition archival pigment print, Sepia tone - Edition of 5 This image was captured on film in 1984. The negative was scanned creating a digital file which...

Fisherman Fly Box Hampshire England 1985 by Homer Sykes oversize 30 x 20 inches / 76 x 51 cm paper size signed limited edition print edition of 8 only this size printed 2022 Certificate of authenticity provided Note Other sizes available Chelsea, London, England circa May 1985. The Chelsea Flower Show. Visitors sheltering, its raining, its summer in Britain. People sitting under their umbrellas. Homer Sykes Sykes's father, Homer Warwick Sykes, was a Canadian-born American of English extraction who worked for the China National Aviation Corporation in Shanghai; his mother, Helen Grimmitt, was Canadian-born and raised in Hong Kong. The couple were married in August 1947, but in June 1948, in an early stage of his wife's pregnancy, Homer was killed in an accident at Lunghua airfield. Helen returned to her family home in Vancouver, and the son was born three weeks later, in 1949.[1][2] When the boy's mother remarried in 1954, the family moved to England.[3] Homer was a keen photographer as a teenager, with a darkroom both at home and at boarding school. In 1968 he started a three-year course at the London College of Printing (LCP),[1][3] while sharing a house in St John's Wood.[4] In the summer vacation during his first year, he went to New York, and was impressed by the work of current photographers – Cartier-Bresson, Davidson, Friedlander, Frank, Uzzle and Winogrand – that he saw at the Museum of Modern Art.[3] Solo exhibitions "Traditional British Calendar Customs", Arnolfini Gallery (Bristol), 1977;[14] Side Gallery (Newcastle), 31 August – 25 September 1977.[15] "Shanghai Odyssey", Open Eye Gallery (Liverpool), 24 May – 20 June 2003.[14][16] Festival of Photography and Contemporary Art (Biella), 2005.[14] "On the Road Again", Hereford Town Hall (Hereford Photography Festival), 2002.[17] "Green Man and Friends, photographs from the 1970s", WPS (Hastings), 2009.[18] "England 1970–1980", Maison de la photographie Robert Doisneau (Gentilly, Paris), 27 June – 12 October 2014.[10][11][19][20] "My Britain 1970–1980", Les Douches la Galerie, Paris. 5 September – 31 October 2015.[21][22][23] "Once a Year – Homer Sykes", Lucy Bell Gallery, St Leonards-on-Sea, May–June 2021[24] Other exhibitions "Personal Views 1850–1970", British Council touring exhibition, 1970.[3] "Traditional Country Customs" (with work by Benjamin Stone), ICA (London), 1971.[3][14] "Young British Photographers", Museum of Modern Art (Oxford), 1971.[14] Exhibition of photographs by Stone and Sykes of festivals, customs and pageants, Southampton and Birmingham, 1973.[7] "Reportage Fotografen", Museum des 20. Jahrhunderts (Vienna), 1978.[14] "Il Regno Unito si diverte". British Council, Milan, 1981. With Chris Steele-Perkins and Patrick Ward.[25] "The Other Britain", National Theatre (London), and touring in Britain, 1982.[26] "A British Eye on the World", Museum of Modern Art (Rio de Janeiro), 1986.[14] "Viva, une agence photographique", Jeu de Paume (Paris), 2007.[27][28] "How We Are: Photographing Britain." Tate Britain (London), 2007.[29][30] "No Such Thing as Society: Photography in Britain 1968–1987", Aberystwyth Arts Centre; Tullie House (Carlisle); Ujazdów Castle (Warsaw).[31] "Unpopular culture." De La Warr Pavilion (Bexhill), 2008.[32] "The Other Britain Revisited: Photographs from New Society", Victoria and Albert Museum, 2010.[26] "Goodbye London: Radical art and politics in the seventies", Neue Gesellschaft für Bildende Kunst (Berlin), 26 June – 15 August 2010. With Stuart Brisley, Victor Burgin, David Hall, Margaret Harrison, Derek Jarman...

Still life photograph, red rose series, mounted on aluminum. Élisabeth Montagnier was born in Algeria. She is a little lost when she arrives in Marseille in 62, does not understand ...

Cactus - Signed limited edition archival pigment print, 1989 - Edition of 5 This image was captured on film. The negative was scanned creating a digital file which was then prin...

Cy DeCosse, King of the Night, 1999. Platinum palladium print. Signed, editioned, titled and dated on print verso. Signed on print recto. Edition of 50 which has been sold out for ye...

David Levinthal Title: Untitled Edition: 2/5 Hand signed, numbered and dated in ink on recto Date: 1997 Original Polaroid Large Format Print (Photo-Internal dye diffusion transfer) Location: Cambridge Massachusetts United States Dimensions: Image: 28 X 22 in. Framed: 36 X 30 inches This depicts a still life of African American Blackface iron toys from his provocative, controversial photo series. This body of work is drawn from David Levinthal’s project Blackface, dating from 1995-1998, it featured blackface Polaroids of his original memorabilia, drawn from the artist’s African American Americana personal collection, that are the Polaroid’s subject matter. Levinthal’s collection of black memorabilia evolved into Blackface, a stimulating and controversial body of work. The title, according to Levinthal, “makes reference to the many facades, poise and physicality of these figures.” The title is also taken from the name of a journal of a black film-making company and is a term referring to both blacks and whites. Traditionally associated with minstrel, these images were used to perpetuate negative stereotypes. Levinthal’s work was originally intended to be exhibited at Philadelphia’s ICA in 1997. However, the show was cancelled when it became a cause célèbre as a result of its controversial subject-matter. Subsequently, images from the series were exhibited at the International Center of Photography and at Janet Borden, Inc. in New York. Levinthal’s initial inspiration for Blackface was D.W.Griffith’s 1915 film “Birth of a Nation,” a groundbreaking film of its time and a watershed moment in the cultural wars. It’s extreme and racist depictions of African Americans fueled a debate over the efficacy and motivation of using racially charged images that continues to reverberate in our culture today. Levinthal’s Blackface was originally intended to be a series based on “Birth of a Nation,” but the focus of the work shifted to the inscription of racially charged identities – what these collectibles convey, how they function within society, and how they continue to polarize social attitudes – within material objects produced and packaged as consumer goods. Levinthal works using a 20 x 24 inch Polaroid Polacolor ER Land Film which results in a large format Polaroid...

Clam 02- Signed limited edition archival pigment print - Edition of 5 This image was captured on film in 1984. The negative was scanned creating a digital file which was then p...

Sardines - Limited edition archival pigment print , 1993 - Edition of 5 Contact me if you are interested in another photograph of my storefront, we can always discuss This ima...

Snake Dips Down, interior photograph from Richard Heeps Ordinary Places series, it was captured in the final years of British Hong Kong in a colonial home on the Peak. The almost mon...

Rice Bowl, interior photograph from Richard Heeps Ordinary Places series, it was captured in the final years of British Hong Kong in a colonial home on the Peak. The almost monochrom...

Igor Vishnyakof limited edition (3/10) individually framed hand gold glazed sepia photographs. All pieces are hand signed and numbered by the artist. This installation was featured...

"Certains lieux laissés à l’abandon suscitent parfois un certain intérêt dans notre imaginaire. Notamment pour ce qu’ils peuvent charrier de mystères. Ils nous intriguent, excitent notre curiosité. Comme s’ils avaient encore quelque chose à nous dire d’eux. À nous dire de nous. Chargés d’un passé aujourd’hui devenu leur présent, de singulières atmosphères règnent en de tels endroits et nous enjoignent parfois à y pénétrer avec prudence, s’offrant ainsi à quelque visiteur opportun." Basile Ducournau Tirage numérique sur papier Etching Hahnemühle 350g, format 40x60cm, édition sur /10. Possibilité de venir récupérer le tirage directement à la galerie. Le prix...

Campbell Kitchen (29 Palms, CA) - 1999 Edition of 10, 58x56cm. Analog C-Print, hand-printed by the artist, printed on Fuji Crystal Archive Paper (matte), based on the Polaroid. ...

1987 Tonys Awards Signed 8x10 Photo Broadway Legends Sondheim Fosse Verdon Simon 1987 Tony Awards photograph signed by 19 legends: Stephen Sondheim, Bob Fosse, August Wilson, Neil Simon Gwen Verdon, Mary Martin, Helen Hayes, Jerry Herman, Ann Miller, Rita Moreno, Bernadette Peters, Cy Coleman, Robert Altman, Tommy Tune...

Clam - Signed limited edition archival pigment print, Sepia tone - Edition of 5 This image was captured on film in 1984. The negative was scanned creating a digital file which...

Robert Fichter Title: Jonah Date: 1980 Original Polaroid Large Format Print (Photo-Internal dye diffusion transfer) Location: Cambridge Massachusetts United States Dimensions: Image: 27 1/2 x 20 1/2 in. (69.9 x 52.1 cm), Paper: 29 1/4 x 21 1/2 in. (74.3 x 54.6 cm) This depicts a large mouth fish with a toy soldier and Asian art (tattoo art?) in an abstract assemblage collage. From "Five Still Lifes" New York: Paradox Editions, Ltd., 1980. 5 original Polaroid color prints. Each hand signed, titled, dated and numbered 37/40 in ink in the margin. Each approximately 24 x 20in (image size). Each is on original as there are no negatives in this process. The photographers included: Robert Cumming, Robert Fichter, Betty Hahn, Victor Schrager...

Pascal Kern (1952-2007) Icone (three panel triptych), 1987 Cibachrome print, inn copper handmade frame. (One is empty of photo on purpose.) Bearing artist label and inscriptions (frame verso) 48 x 48 inches. (each) Provenance: the Ginny L Williams...

Aliens, triptych - 1998 Edition of 5, 48x59cm each, 48x190 installed including the gaps. analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte finish, ba...

Edition 5/5 Toned gelatin silver print 43 x 43 in. Signed, dated and numbered in pencil on verso. Frame Included. Chema Madoz is one of the most important contemporary Spanish photo...

Table top - Signed limited edition archival pigment print - Edition of 5 This image was captured on film in 1985. The negative was scanned creating a digital file which was then...

Victor Schrager Title: Olympia Date: 1980 Original Polaroid Large Format Print (Photo-Internal dye diffusion transfer) Location: Cambridge Massachusett...

Betty Hahn Title: Belladonna Date: 1980 Original Polaroid Large Format Print (Photo-Internal dye diffusion transfer) Location: Cambridge Massachusetts United States Dimensions: Image: 27 1/2 x 20 1/2 in. (69.9 x 52.1 cm), Paper: 29 1/4 x 21 1/2 in. (74.3 x 54.6 cm) This depicts a still life of a flower with an old botanical drawing print plate. From "Five Still Lifes" New York: Paradox Editions, Ltd., 1980. 5 original Polaroid color prints. Each hand signed, titled, dated and numbered 37/40 in ink in the margin. Each approximately 24 x 20in (image size). Each is on original as there are no negatives in this process. The photographers included: Robert Cumming, Robert Fichter, Betty Hahn, Victor Schrager and William Wegman. The photos were produced in the Polaroid Corporation’s 20×24 studio in Cambridge, Massachusetts. This is an internal Dye Diffusion print (large format) Polaroid print. These are exceedingly rare now. This format was used by many of the leading photographers of the second half of the 20th century, among them Peter Beard, Chuck Close, David Levinthal, Robert Frank, David Hockney, Lucas Samaras, Andy Warhol, Robert Mapplethorpe and, perhaps most significantly, Ansel Adams More recently Ellen Carey has created large abstract masterpieces using this format. Betty Hahn (born 1940) is an American photographer known for working in alternative and early photographic processes. She completed both her BFA (1963) and MFA (1966) at Indiana University. Initially, Hahn worked in other two-dimensional art mediums before focusing on photography in graduate school. She is well-recognized due to her experimentation with experimental photographic methods which incorporate different forms of media. By transcending traditional concepts of photography, Hahn challenges the viewer not only to assess the content of the image, but also to contemplate the photographic object itself. Betty Hahn was born on October 11, 1940 in Chicago, Illinois where she also grew up. At the age of ten, Hahn was given her first camera by an aunt. Hahn later on went to graduate from Scecina Memorial Catholic High School. Soon after, she enrolled at Indiana University with a full scholarship where she furthered her studies in Fine Arts, receiving both her BFA (1963) and her MFA (1966). Throughout her undergraduate years, she concentrated in drawing and painting; however, as she entered graduate study, she worked in photography. During this important developmental period, Hahn studied under one of the most well-known photography teachers of the time, Henry Holmes Smith, who encouraged Hahn's work in alternative processes. Once she graduated, Hahn moved to Rochester where she taught at the Rochester Institute of Technology until 1975. Hahn then relocated to Albuquerque where she was professor at University of New Mexico until her retirement in 1997. Hahn is best known for her explorations of alternative processes in photography, using both older methods of darkroom developing such as gum-bichromate and cyanotypes, with other art mediums, including hand-painting and even embroidery. She is noted as one of the first photographers to successfully integrate such a variety of art mediums. Hahn encourages the viewer to think more deeply through not only the use of different physical processes in her artwork, but also through the multiplicity of meanings in her photographs. In most of her work, Hahn integrates humor and irony as she explores the meanings generated by formal combinations. Some of her prints include the sprocket holes of the 35mm negative, which allude to its 35mm film origins: but by hand coloring with bright paints, she draws attention to the mixture of craft with industrial mediums. Once she started experimenting with the gum-bichromate process, Hahn started stitching into her photographs. Printing onto canvas and other fabrics allowed her to use thread to highlight certain aspects of the photograph. In combining her photographs with conventional practices, Hahn successfully intertwines formal and conceptual aspects. Not only does she speak to the mundane tasks of everyday life, but also about routine and normativity. In highlighting the ordinary in her work, Hahn elevates and revives that which has been lost in the practice of daily life. Embroidery references femininity, as Hahn underlines the feminist issue of the anonymity of women's handicraft. Her embroidery often emphasized flowers with its three-dimensionality, furthering the idea of femininity; she later on pursued this as a symbol and incorporated it in several of her other series. In her work, Hahn delivers a powerful feminist message in regards to women and embroidery. It is quite evident through time that women's labor is needlework, and that their labor is frequently undervalued as craft both when dissimilar and alike to men's work. In a time period where men overshadowed women in the traditional art, such as painting and sculpture, women oftentimes reverted to other mediums like textiles. It has been suggested that women's work, especially in embroidery, is of little value in the art field since it is considered a craft. Since "arts and crafts" are more often than not paired together, it is obvious they are in the same category; however, there is a clear distinction. For 300 years, women have been taught needlework through practice and tradition, and in inadvertently, promoted obedience and household effeminate behavior. As a result, instead of regarding stitching as an art, many viewed it as a thoughtless skill, lacking originality. On the contrary, however, it is far more than evident that the hand of woman is more than a mindless and conforming thing, it is one of sensitivity, thought, patience, perseverance, and strength. By incorporating embroidery and stitching, Betty Hahn pushes the audience to acknowledge the work of women not as craft or tradition, but as meticulous, creative and unique. Exhibitions The Division of Photographic History at the Smithsonian Institution exhibited Hahn's work in a group exhibit in the 1960s as a part of a developing series of displaying the works of women photographers. Afterwards her work was featured in multiple thematic exhibitions at the Smithsonian. Hahn's first solo show exhibiting her work was in 1973 at the Witkin Gallery in New York City. Thereafter, she received several grants from the National Endowment for the Arts in 1974, 1978, and 1983 to continue her work in explorative photography. Hahn's art has been exhibited throughout the country and worldwide featured in museums highlighting historical processes in Baltimore, Maryland (1972) and nature photography exhibitions in Osaka, Japan (1990). Her work has been displayed at the Albuquerque Museum of Art and Art History (2017), Phoenix Art Museum (2015), and the George Eastman House (2012, 2016). Hahn's work is held in private collectors, galleries, and in permanent museum collections, including the San Francisco Museum of Modern Art, Center for Creative Photography and the Museum of Modern Art. Exhibitions 1996 – George Eastman House International Museum of Photography and film, Rochester, New York 1997 – A History of Women Photographers, Akron Art Museum 1997 – Eye of the Beholder, Photographs of the Avon Collection, International Center of Photography, Midtown, New York City 1998 – Passing Shots: A Travel Series, University of New Mexico Art Museum, Albuquerque, New Mexico 1998 – The City Series, Taos, Albuquerque, Santa Fe, Cedar Rapids Museum of Art, Cedar Rapids, IA 1999 – Photography Or Maybe Not, a Betty Hahn traveling retrospective, Mikhailovsky Palace, St. Petersburg, Russia 2000 – 20/20 Twentieth Century Photographic Acquisitions by 20 leading patrons, Museum of New Mexico, Museum of Fine Arts 2000 – Photography Or Maybe Not, a Betty Hahn traveling retrospective, Santa Fe de Granada, Spain 2001 – In the Eyes of the Beholder: Ten Photographers View Albuquerque, The University of New Mexico Hospital, Albuquerque, NM 2002 – Sun Works Contemporary Alternative Photography, The Art Institute of Boston 2002 – Flowers from the Permanent Collection, The Albuquerque Museum, Albuquerque, New Mexico 2004 – 30th Anniversary Permanent Collection Exhibition, New Mexico State, University Art Gallery, Las Cruces, New Mexico 2005 – New Mexico State University Art Gallery, Las Cruces, New Mexico 2005 – Ace in the Hole, the legacy of Peter Walch, University Art Museum, University of New Mexico, Albuquerque, NM 2006 – The collectible moment, Norton Simon museum, Pasadena, California 2006 – The Social Lens, University of Virginia Art Museum, Charlottesville, Virginia 2007 – Seeing Ourselves: Masterpieces of American Photography, A Traveling 2007 – Exhibition, George Eastman House, Rochester, New York 2008 – Flower Power: a Subversive Botanical, New Mexico Museum of Art, Santa Fe, NM 2008 – Bernalillo County Arts Board Gallery, One Civic Plaza NW, Albuquerque, NM 2008 – Giving Shelter 516 Arts Albuquerque, NM (A Sister Exhibition to the Cradle Project) 2008 – Betty Hahn, Joyce Neimanas, and Judith Golden, Harwood Art Center Albuquerque, NM 2009 – Through the Lens: Creating Santa Fe, Palace of the Governors, The New Mexico History Museum, Santa Fe, 2009 – Altered Land: Photography in the 1970s, Sheldon Museum of Art, University of Nebraska, Lincoln, Nebraska 2010 – Sole Mates Cowboy Boots & Art, New Mexico Museum of Art 2010 – Rock Scissors Paper, Anderson Contemporary Arts, Albuquerque, NM 2010 – Recollection 2010, Works from the Colorado Photographic Arts Center, The Central Library, Vida Ellison Gallery, 2012 – 60 From the 60's (an exhibit of influential photos from the 1960s) George Eastman House, Rochester, New York 2012 – Albuquerque Now-Fall and Albuquerque Now-Winter, The Albuquerque Museum of Art and History, 2013 – It's About Time: 14,000 Years of Art in New Mexico, The New Mexico Museum of Art, Albuquerque, NM 2014 – Alternative Lineage – Honoring Betty Hahn; 5 Decades of Mentoring 2014 – Alternative Photographic Processes, Center for Photographic Art Carmel, California 2014 – Alternative Lineage, Northlight Gallery, Arizona State University, Tempe, Arizona 2014 – Transformational Imagemaking, Handmade Photography Since 1960 2014 – An Exhibition Curated by Robert Hirsch, CEPA Gallery, Buffalo, NY 2014 – Museum Project, dnj Gallery, Santa Monica, California 2014 – American Heritage Center and Art Museum, University of Wyoming, Laramie, Wyoming 2014 – Hubbard Museum of the American West, Ruidoso, New Mexico 2015 - One-Of-A-Kind, unique photographic objects from the Center of Creative Photography, University of Arizona, 2015 – Unconfined – Empowering Women Through Art, African American Performing Arts Center, New Mexico Expo, 2015 – Visualizing Albuquerque: Art of Central New Mexico, Albuquerque Museum, Albuquerque, NM 2015 – Healing ... For the Time Being, A mixed media exhibition in conjunction with On the Map: Albuquerque Art and Design, Jonathan Abrams MD 2015 – The AIPAD Photography Show, Represented by Joseph Bellows Gallery, New York, New York 2016 – Transformational Imagemaking, traveling exhibition March-16- April 16; Muhlenberg College, Allentown, Pa. 2016 – Fall-Rochester Institute of Technology, Bevier Gallery, Rochester, NY 2016 – 60 from the 60's: Selections from the George Eastman Museum, At the Hyde Collection, Glens Falls, New York (The featured artists included were Harry Callahan, Benedict J. Fernandez, Hollis Frampton...

Clams - Signed limited edition archival pigment print, 1984 - Edition of 5 This image was captured on film. The negative was scanned creating a digital file which was then pr...

Artificial Flowers II (Suburbia) 1999, 50x60cm, Edition of 1/10. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface, based on a Polaroid, signa...

Orange Flowered Couch at Sunset (29 Palms, CA) - 1999 Edition 1/10, 20x20cm, Archival C-Print, based on a Polaroid Artist inventory Number 19762 Not mounted. Stefanie Schneider:...

Purple Popsicle, 1991. Archival Pigment Print. 40 x 60 in. – Edition of 3 with 2 A/P. _________________________________________________________________________________ Signed, Dated ...

Orchids by Ian Sanderson Signed limited edition archival pigment print, 1991 - Edition of 5 This image was captured on film. The negative was scanned creating a digital file wh...

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

Kurt Markus, American (1947) Batwings, Oro Ranch, Prescott, Arizona Archival Pigment Print, Edition of 300, # 149, Signed and numbered. Framed. Measurements: Frame: H 57.15 cm/22.5 in x W 45.72 cm/18.5 in - Sight H 33.02 cm/13.5 in x W 25.4 cm/10.5 in Kurt Markus, self-taught American photographer, was born in rural Montana. Markus is a nationally and internationally published photographer. Markus’s work began with a focus on American West Cowboys...

Sunflowers by Jan Van Leeuwen presents two sunflowers, slightly dried and wilted, bathed in an earthy brown. Sunflowers by Jan Van Leeuwen is a 16 x 12 inch kallitype print. It is...

Mindscreen 10 - 1999 58x56cm, Edition of 10. Analog C-Print, hand-printed by the artist, based on a Polaroid. Signature label and Certificate. artist Inventory No. 244.04. Not mou...

Vaclav Chochola Jewish Cemetery, Prague, 1959 Gelatin silver print, 11 1/2 x 9 1/2 in. Signed, dated and misc. notations on print verso by Vaclav Chochola

Breakfast Table, is a rare studio creation by Richard Heeps, inspired by a recent visit to Fleetwood, incorporating autobiographical elements, brought in to create a simple still lif...

Printed on archival fine art paper and signed, dated and numbered by the artist. Edition #2 of 5. About the artist: "I always felt that plants have a secret life. First, you don't ...

Modern black and white off-centered film negative of a photograph of a tree. The 24th image on the strip of film, the skewed composition creates an air ...

Printed on archival fine art paper and signed, dated and numbered by the artist. Edition #2 of 5. About the artist: "I always felt that plants have a secret life. First, you don't ...

Printed on archival fine art paper and signed, dated and numbered by the artist. Edition #2 of 5. About the artist: "I always felt that plants have a secret life. First, you don't ...

Printed on archival fine art paper and signed, dated and numbered by the artist. Edition #2 of 5. About the artist: "I always felt that plants have a secret life. First, you don't ...

A photograph by Andy Warhol. “Absolute Vodka” is a Polaroid, Polacolor by American Pop Artist Andy Warhol. The artwork is numbered FA09.01832, FA09.01831, and AWL045 by the Andy Warh...

We are excited to announce the grand opening of “Indian Summer” at La Plage in Sag Harbor. This exhibition will include Fine Art + Photography from the Robin Rice Gallery including Rice’s own fine art photography. The show will be on exhibit beginning Friday October 9th, with an opening reception Saturday October 10th 2020 from 5pm to 8pm. Car, Fashion, Motorcycle, Portrait, Sepia, Water, Woman, Vintage...

Photograph documenting daily life in Havana, Cuba by renowned photojournalist Rick Hunter. This work features a closeup shot of graffiti stating "Don't Let...

A painting of a horse in Chatsworth House, Derbyshire, 1980s. TITLE: Chatsworth Painting c. 1980 PHOTO: Christopher Simon Sykes
 SIGNED LIMITED EDITI...

Table top - Signed limited edition archival pigment print - Edition of 5 This image was captured on film in 1985. The negative was scanned creating a digital file which was then...

Contemporary nature photograph by New York artist, Nick Zungoli. Photograph features a dried red oak leaf on a bed of green moss. Edition 1/300. Signed in the bottom right corner. Framed and matted in a chrome frame. Dimensions Without Frame: H 10.75 in. x W 8.25 in. Artist Biography: Internationally recognized and the Hudson Valley’s pre-eminent landscape photographer, Nick Zungoli’s work has been widely collected since he opened Exposures Gallery in the Hudson Valley’s Art...

A photograph by Andy Warhol. “Perugina Candy Box” is a Polaroid, Polacolor by American Pop Artist Andy Warhol. The artwork is numbered FA09.02294 and AWL134 ...

Open Edition Gelatin silver print, 13 3/4 x 18 in. Signed, titled, and dated in pencil on print verso by Mariana Yampolsky Printed 1998-99

Contemporary nature photograph by New York artist, Nick Zungoli. Photograph features two dried maple leaf on a bed of green moss. Edition 1/300. Signed in the bottom right corner. Framed and matted in a chrome frame. Dimensions Without Frame: H 10.75 in. x W 8.25 in. Artist Biography: Internationally recognized and the Hudson Valley’s pre-eminent landscape photographer, Nick Zungoli’s work has been widely collected since he opened Exposures Gallery in the Hudson Valley’s Art...

Contemporary nature photograph by New York artist, Nick Zungoli. The photograph features a bunch of turkey fungus and a leaf. Edition 1/300. Signed in the bottom right corner. Framed and matted in a chrome frame. Dimensions Without Frame: H 10.75 in. x W 8.25 in. Artist Biography: Internationally recognized and the Hudson Valley’s pre-eminent landscape photographer, Nick Zungoli’s work has been widely collected since he opened Exposures Gallery in the Hudson Valley’s Art...

Arum Lilies - Signed limited edition archival pigment print, 1993 - Edition of 5 This image was captured on film. The negative was scanned creating a digital file which was then printed on Hahnemühle Photo Rag® Baryta 315 gsm (Acid- and lignin-free paper, Museum quality for highest age resistance and a popular alternative to analogue baryta paper) using pigment inks which are known for their longevity. Please note. There are three sizes of this archival pigment print ; each is an edition of five (5) making the total that can be printed as fifteen (15). This will include any custom sizes requested Signed + numbered by artist with certificate of authenticity, packaged with care. Edition : 1/5 , unframed Archival pigment print available sizes ( Image size , the white margin is not counted) : 50 x 45 cm / 19,68 x 17,72 in - Edition of 5 75 x 66 cm / 29,53 x 25,99 in - Edition of 5 100 x 89 cm / 39,37 x 35,04 in - Edition of 5 Ian Sanderson (born 1951 Scotland, died 2020 Spain) was a Scottish photographer. Ian produced images over a 35 year career. For most he worked as both a Commercial and Fine Art photographer; during his last years concentrated on his personal archive. Ian and his widow Nathalie have worked for many years with alternative printing techniques in their workshop, ISP, creating Platinum Palladium, Silver Gelatin, Lith or Gum Bichromate. This culminated in a large retrospective exhibition in Barcelona which was sponsored by the Nando and Elsa Peretti Foundation. Platinum Palladium printing is a traditional photographic technique which precedes silver gelatin technique. Many photographers have worked with it in the past as Irvin Penn, Manuel Alvarez Bravo, Robert Mapplethorpe, Sebastiao Salgado o Ormond Gigli with its Platinum with gold leaf print 'Girls in the Windows'. ISP Workshop continues with the work of Ian's widow to create archival pigment prints like this one but also rare and personalized photographs. The original Platinum Palladium technique she uses is more advanced by adding another precious metal (silver or gold leaf depending on the desired rendering) that only a handful of artists in the world have the expertise to practice it today. Silver or Gold bring longevity and rarity to the print but also a tonal range and depth unmatched by digital printers which are valued by collectors. Please note that prices increase as editions sell. categories : Black and white photography, 20th. century, Archival pigment print, Monochromatic Art...

Flower - Signed limited edition archival pigment print, 1989 - Edition of 5 This image was captured on film. The negative was scanned creating a digital file which was then pri...

Gota de Agua by Leo Matiz Image size: 4 in. H x 7.5 in. W Frame size: 11.5 in. H x 13.5 in. W One of a Kind Wood Frame All photographs are accompanied by a " Leo Matiz Estate" c...

Photograph documenting daily life in Havana, Cuba by renowned photojournalist Rick Hunter. This work features a closeup of a classic car hood ornament in t...

This work is unique. Stamped on the reverse by The Andy Warhol Foundation for the Visual Arts. Foundation number also on verso. The work comes with an Authentication Letter from the ...

Bed, 1992 Still Life Photograph of Mahogany Canopy Bed in a Bedroom by David Halliday Sepia toned silver gelatin print, edition of 15 Custom brown...

Orchids by Ian Sanderson Signed limited edition archival pigment print, 1991 - Edition of 5 This image was captured on film. The negative was scanned creating a digital file whi...

Rider’s Field Boot from Claremont Riding Academy on the Upper West Side of Manhattan in the 1990s was photographed for City Riders (Macmillan, 1997) by Roberta Fineberg. From the bo...

Bungalow B, Thailand, 1988 - 20x30cm, Edition of 10, digital C-Print based on a 35mm negative. Signed on back with Certificate. Not mounted.