Bride Photography

Underwater nude photograph of a young woman in a swimming pool and her shadow on the bottom of the pool. Original gallery quality print signed by the artist. Digital archival pigme...

Kevin Vivers Devotion Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provided *Ready to hang; matted and framed in a minimal blac...

Halftone photographic print on gloss photographic paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Alfred Stieglitz Memorial Portfolio 1864-1946, 1947. Published by Twice a Year Press, New York; printed by Lakeside Press, Chicago, 1947. Excepted from the folio, edition limited to fifteen-hundred copies. INTRODUCTORY NOTE-AMERICA WITHOUT ALFRED STIEGLITZ, Twice during his life, and now again after his death, the compelling and magnetic personality of Alfred Stieglitz has evoked spontaneous group tribute. In America and Alfred Stieglitz, as in the earlier and memorable No. 47 of Camera Work, the elusive question: What is the meaning of Stieglitz? was posed. In both volumes—as in so much other writing about him-it was answered in as many ways as there were artists, writers, composers-individuals in all fields of endeavor attempting to "explain" him. Indeed, the meaning and influence of Stieglitz as artist, patron, teacher, inspirer, friend, critic, were so vastly complex, it may be that no single estimate of him could at any point fully cover all facets of his character. Thus it may be both inevitable and particularly fitting that a memorial volume to him should also be in the form of a group tribute the more so since he himself so firmly believed that no matter how diligently one attempts to evaluate the meaning of any individual or work of art (or life itself for that matter) there can never be one single interpretation, one single estimate that can be viewed as absolute or final. That tribute should be paid by a group is fitting for still another reason, for although Stieglitz was ostensibly a great individualist, no one believed more firmly than did he in the idea that individuals dedicated to the same ends should come together and work together for a common purpose each leaving the other free to say his say without interference. In reading over the tributes now published in this portfolio as they have been received, I have felt what I always feel about any writing concerning Stieglitz that is born of deep feeling: That those who are moved to write about him invariably do so more from a desire to share a sense of wonder about him, than actually to "explain" his meaning or importance. This again is as it should be, for Stieglitz's entire life was dedicated to the sense of wonder-his own, as well as that of others. There were those who scoffed at the title "America and Alfred Stieglitz" when the volume bearing that name first appeared (the inference having been that those responsible for it overestimated Stinglitz's importance). The question now is-What of America without Alfred Stieglitz? What has gone out of our lives now that Stieglitz is no longer here? For certainly we have suffered a great and abiding loss in his death. And although America is infinitely richer for his having lived, it is not quite the same now that he is gone. Certainly there is no one in this country now standing up for the arts in precisely the manner in which Stieglitz stood up for them. There is no one now fighting as he fought to keep art from being regarded as a commodity. There is no gallery in America at this moment whose spirit and approach are even remotely related to the spirit of "291," the Intimate Gallery, An American Place. Wherever Stieglitz functioned there was a sacred feeling about the artist, about the work of art, about the cleanliness of walls, about those seeking art. There is now no one photographing as he photographed; no one speaking as he spoke. America without Alfred Stieglitz is indeed changed subtly but incontrovertibly changed. This portfolio is published to re-evoke the tradition in which he lived. It is issued as a labor of love, in tribute to a great and lovable man, in deep sadness that he is no longer alive and in dedication to the principles for which he stood, and the spirit in which he worked. The tributes received have been printed without editing, except for corrections of important errors of fact. They express the views of their authors; they are inevitably as much portraits of their authors as of their subject. I have included excerpts from a few letters received after Stieglitz's death, which, although not written for publication, seem somehow to belong; various pieces written about Stieglitz some time ago by those who would surely have contributed related tributes now, had they not died within recent years; several articles meant for this portfolio but already published elsewhere; a cross-section of obituaries and memorial pieces from leading newspapers and journals; a few tributes received after the portfolio was planned, at the request of their authors. As for the decision to include reproductions of Stieglitz's photographs: As with all attempts to reproduce his work, I have felt a certain degree of hesitation. Although he disliked very much having his work reproduced, he would, in general, permit reproductions to be published when requested. I have attempted to procure the best approximation of his work that could be made in America at this time. To those who believe it unfitting to reproduce Stieglitz's work at all, or that one should wait to do so until conditions are perfect, I can only state this: Stieglitz was indeed a great perfectionist, but he spoke out vigorously against making such a fetish of perfectionism that one might finally do nothing whatsoever in behalf of the very things about which one claims to care the most. Years ago he wrote to someone who asked to reproduce his work: "My photographs do not lend themselves to reproduction. The very qualities that give them their life would be completely lost in reproduction. The quality of touch in its deepest living sense is inherent in my photographs. When that sense of touch is lost, the heartbeat of the photograph is extinct. In the reproduction it would become extinct dead. My interest is in the living. That is why cannot give permission to reproduce my photographs." He wrote this, despite giving permission to reproduce his work many times both before and after the statement was written. At another time he wrote: "As for reproductions, I feel that if the spirit of the original is lost, nothing is preserved. My work might be reproduced if properly interpreted, that is, the spirit might be preserved. Of course, some of the things can't possibly be reproduced for obvious reasons. Above all, the reproductions must have a clean feeling— an absolute integrity of their own." Aware of these feelings and despite the paradox that he so often granted permission to reproduce his work in spite of them—wish to make it clear that the reproductions herewith included are in no sense offered as substitutes for Stieglitz originals. They are published rather as a reminder of the originals themselves. In concentrating so intently upon the fostering of other artists, Stieglitz paid far too little attention to seeing that his own work might be better known to the general public. It is high time that this situation was remedied. To print a mere twenty reproductions, in the light of the enormous scope of Stieglitz's work, is also not to suggest that this portfolio represents a true "cross-section" of his work. All that could be done under the present circumstances was to choose a few representative prints, from various periods, that might possibly be reproduced without losing too much of the form of the originals, and thereby show at least the general direction in which Stieglitz's work evolved even though obviously only in a cursory-and therefore perhaps misleading-fashion. But if the inclusion of these few reproductions should do nothing more than lead those who see them to the originals, their publication may be justified. In the final analysis, in paying tribute to Stieglitz one cannot help but wish-first and foremost-to enable his contribution as an artist to speak for itself. For his contribution as photographer will live on—as symbol and portrait of all that he stood for, envisioned, created, expressed-quite independently of whatever else he fostered and inspired. And that contribution is one of the greatest in the world of art in our time. —Dorothy Norman...

Passionate, sensitive and an eye for detail, light and color, this is the working method of Dutch photographer Ursula van de Bunte (1969). She is a...

Two Facades. Mickey's Place was Bar / Restaurant in Chelsea opposite the old West Side Highway. In this photograph, late afternoon light illuminates the old walk-up building giving ...

Cuban Socialists - Historical Photo is a black and white vintage photograph realized in the 1960s. It belongs to historical albumen including photo reportages of historical events an...

Hand-coloured portrait of nymph Daphne, immobilised in marble, as she is transformed into a laurel tree. Birthed in Greek Mythology, Daphne is associated with bodies of freshwater and is an unwilling object of the god Apollo...

Photography, printed on Fine Art cotton smooth paper 310 g/m2, glued to Dibond Aluminium. 100 x 100 x 0,5 cm + 100 x 100 x 0,5 cm. Unique piece with these dimensions. Showtime, by F...

Pigment ink on Fine Art Hahnemühle paper Edition 1/5 Hand-signed on the back by the artist “We are such stuff as dreams are made on, and our little life is rounded with a sleep.” Th...

A celebration of the art of graffiti drawn from various locations around the world… these pieces are part reality and part creation emphasizing the often ephemeral nature of street ...

Hand-coloured tableau of a weeping spirit and her guardians, immobilised in marble. A disjointed narrative looking at recovery and protection, the angels shield the spirit with tender embraces and cry for her when alone. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). During the beginning of the 'Museum Age' in the 18th century , writer Johann Wolfgang Von Goethe discussed mythical...

Hand-coloured portrait of a bird-like spirit, immobilised in marble, cleansing in a spring-time bath. A character formed from Naiads (a Greek nymph of flowing water), and exploring the idea of a ritualistic cleansing to wash away sombre deeds. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). During the beginning of the 'Museum Age' in the 18th century , writer Johann Wolfgang Von Goethe discussed mythical sculpture...

Hand-coloured portrait of a human larvae bursting out of their cocoon, immobilised in marble. Representative of a safe and isolating space, the cocoon is both a cage and a shelter. This tale is a​ study of transformation, of breaking apart and coming back together as the larvae emerges from the silken threads. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). During the beginning of the 'Museum Age' in the 18th century , writer Johann Wolfgang Von Goethe discussed mythical sculpture...

Warhol superstar Eric Emerson, the iconic portrait photographed for 'After Dark' magazine in 1971. This is a vintage gelatin silver print, made by hand by master photographer Jack Mi...

From the limited edition portfolio, The Last Days of Summer. This photograph is made from the original 8x10” negatives by master printers Laura Totten and Natalie Obermaier under the...

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

Day of Celebration is an Original Photograph of the late 19th Century. Period photo from Mr. Dumas' decorations. Good condition on a yellowed paper, some spots on the margin. Incl...

This is an archival pigment print depicting an abstracted still life printed on Hahnemuhle Photo Rag 308 gsm by artist Paul Cava. It is from the "Flora" series, which is one of three...

Anna Magnani - Vintage Photo is a vintage b/w photographic print on single-coated paper, realized in the 1960s. Good conditions. Anna Magnani was born ...

Jersey Girls Yellow, from Richard Heeps Jersey Shore series. Vintage matchbooks from the Chelsea flea market featuring nudes from the 1940's are reim...

Luis Gonzalez Palma Mobius (Virginal), 2019 digital photograph on canvas, gold leaf and Judea Bitumen 11.75" x 11.75" unframed 16" x 16" framed Edition of 5 Luis González Palma’s ...

Twiggy with Flowers, 1966 (Terry O'Neill - Black and White Photography) Silver Gelatin Print 16x20: £2,100 20x24: £2,700 30x40: £4,800 48x72: £12,000 Edition of 50 and 10 APs per ...

This Autograph by Gerlinde Locker is reported on this b/w postcard reproducing a beautiful photographic portrait of Gerlinde Locker (Liz, 1938), the Austrian actress, active in Germa...

She finished her studies at the Art Institute of the Pedagogical University in Cracow, obtaining a diploma at a drawing atelier of professor Piotr Jargusz; she currently is a lecture...

Lone person on the Central Park Mall after snowstorm. This archival color photograph by fine art photographer Mitchell Funk is signed, dated and numbered 2/15, lower right recto. Oth...

Bells Ringing (Sidewinder), 2005 - Edition 2/5, 104x424cm (installed), each piece 48x46cm, 16 analog C-Prints, based on 16 expired Polaroids, hand-printed by the artist on Fuji ...

Large and wonderful B & W photograph by American photographer Andreas Feininger (1906-1999). Photograph is of a gorilla rib cage. Printed in 1951, it measures 8ft. 10 in. x 10ft. Photograph is attached to linen and can be rolled for easy storage and shipping. Feininger was born in Paris, France, the eldest son of Julia Berg, a German Jew, and the American painter and art educator Lyonel Feininger (1871-1956). His paternal grandparents were the German violinist Karl Feininger (1844–1922) and the American singer Elizabeth Feininger, (née Lutz), who was also of German descent. His younger brother was the painter and photographer T. Lux Feininger (1910–2011) In 1908 the Feininger family moved to Berlin, and in 1919 to Weimar, where Lyonel Feininger took up the post of Master of the Printing Workshop at the newly formed Bauhaus art school.[2] Andreas left school at 16, in 1922, to study at the Bauhaus; he graduated as a cabinetmaker in April 1925. Afterwards he studied architecture, initially at the Staatliche Bauschule Weimar (State Architectural College, Weimar) and later at the Staatliche Bauschule Zerbst. (Zerbst is a city in the German state of Saxony-Anhalt, about 20 km from Dessau, where the Bauhaus moved to in 1926.) The Feininger family moved to Dessau with the Bauhaus. In addition to continuing his architectural studies in Zerbst, Andreas developed an interest in photography and was given guidance by neighbour and Bauhaus teacher László Moholy-Nagy. In 1936, he gave up architecture and moved to Sweden, where he focused on photography. In advance of World War II, in 1939, Feininger immigrated to the U.S. where he established himself as a freelance photographer. In 1943 he joined the staff of Life magazine, an association that lasted until 1962. Feininger became famous for his photographs of New York...

Black and white fine art long exposure waterscape - landscape photography print. Archival pigment ink print, edition of 9. Signed, titled, dated and numbered by artist. Certificate o...

Vintage black and white photo portrait of a young beautiful elegant woman, taken by Studio Bonte - Gand, 1903. On the back of the photo is hand written "Magdeleine - October 1903". V...

Vintage photos. Collection of two vintage black and white photo portraits of a young beautiful and elegant woman, taken by Studio Orlay de Karwa in Rome. Years 1900/1910. Some foxin...

American Ballet Theatre dancer Christine Dunham in costume performing "The Firebird" in 1992. One of Mitchell's most beautiful color photographs. This exhibition print is 17 x 22". C...

This photograph of diva Patti LuPone, choreographer Michael Smuin and the cast of Broadway hit 'Anything Goes' was taken in 1987 for the cover of Dance Ma...

This photograph of Bob Fosse and the cast of his Broadway hit 'Big Deal' was taken in 1986 for the cover of Dance Magazine. One of Mitchell's most beautiful color photographs. This e...

Brigitte LUSTENBERGER (*1969, Switzerland) Now Is Not A Time Flowers, 2019 From the series 'An Apparition Of Memory' C-print 100 x 100 cm (39 3/8 x 39 3/8 in.) Edition of 5, plus 2 ...

11 x 14" vintage silver gelatin photograph - this is the famous photograph published full page in the New York Times of the Broadway Show Cast Members in...

11 x 14" vintage silver gelatin photograph of artist Eric Fischl in his NYC studio with new work, signed by Jack Mitchell on the print recto. Comes directly from the Jack Mitchell Ar...

11 x 14" vintage silver gelatin photograph of British pop artist Gerald Laing and his wife Galina pose nude for wedding photos in Jack Mitchell's st...

11 x 14" vintage silver gelatin photograph of Hollywood Film Star Joan Blondell, 1971. Signed on the print verso by Jack Mitchell. Comes directly from th...

11 x 14" vintage silver gelatin photograph of composer and diarist Ned Rorem with his close friend designer Gloria Vanderbilt, photographed in Jack Mitchell'...

11 x 14" vintage silver gelatin photograph, signed by Jack Mitchell. Comes directly from the Jack Mitchell Archives with a certificate of authenticity. This photograph was from a se...

11 x 14" vintage silver gelatin photograph, signed by Jack Mitchell. Comes directly from the Jack Mitchell Archives with a certificate of authenticity. This photograph was from a session for After Dark magazine and was selected and signed by Jack Mitchell as one of his favorites. Jack’s artist statement on his work for the magazine: “After Dark was a magazine of entertainment, theater and the arts. It was a popular magazine, with a gay slant, enjoyed by many gay men, and some broad minded women and men. As well as (I learned years later) many closeted male youngsters. The magazine was ahead of its time, as advertisers were reluctant to place ads in an essentially gay magazine at that time. Today they swarm like bees to place their own hot ads in gay publications. I had been photographing on assignment for Dance Magazine well before After Dark was created. Being a friend of William (Bill) Como, the Editor, and being gay, I was called into service, for the life of the publication, to photograph many of the handsome young men and women, who were featured in After Dark. Needless to say, this was enjoyable work for me, Because, mixed in with the hot-looking young guys and gals sent to my studio were some famed performers like Debbie Reynolds, Giancarlo Giannini, Arnold Schwarzenegger, Natalie Wood, Placido Domingo, Sergio Franco...

11 x 14" vintage silver gelatin photograph, signed by Jack Mitchell. Comes directly from the Jack Mitchell Archives with a certificate of authenticity. This photograph was from a se...

11 x 14" vintage silver gelatin photograph of Artist/Warhol Superstar Ultra Violet, with friends Jason McCoy and Ron Caran, 1971, nude, photographed in 1971 in New York City. Comes d...

11 x 14" vintage silver gelatin photograph of American Ballet Theatre prima ballerina Alessandra Ferri as "Giselle". Comes directly from the J...

11 x 14" vintage silver gelatin photograph of Lucas Hoving Dance Company performers Nancy Lewis, Chase Robinson, and Lucas Hoving in "Icarus" in 1965. Comes directly from the Jack Mi...

11 x 14" vintage silver gelatin photograph ofErik Bruhn, Maria Tallchief in "Giselle" at Jacob's Pillow, 1961. Signed by Jack Mitchell on the print recto. Comes directly from the Jac...

11 x 14" vintage silver gelatin photograph of silver screen superstar Gloria Swanson posing dramatically with a white carnation, her signature flower, i...

11 x 14" vintage silver gelatin photograph of modern dancer Ellen Kogan performing "La Loie: A Tribute to Loie Fuller ", 1994. Signed on the print verso. Comes directly from the Jack...

11 x 14" vintage silver gelatin photograph of actress Lauren Bacall, photographed in 1966. Signed by Jack Mitchell on the recto. Comes directly from the Jack Mitchell Archives with ...

11 x 14" vintage silver gelatin photograph of Soprano Leontyne Price, one of the first African Americans to become a leading artist at the Metropolitan ...

11 x 14" vintage silver gelatin photograph of actress Ginger Rogers backstage at NBC Television Studios at Rockefeller Center, 1964. Comes directly from the Jack Mitchell Archives w...

11 x 14" vintage silver gelatin photograph of actress Dina Merrill, 1966. Signed on the print verso. Comes directly from the Jack Mitchell Archives with ...

11 x 14" vintage silver gelatin photograph of French mime Marcel Marceau, multiple exposures on one piece of 120 negative film, 1973. Comes directly ...

11 x 14" vintage silver gelatin photograph of Martha Graham performing "Clytemnestra", 1966. Signed by Jack Mitchell on the print verso. Comes directly from the Jack Mitchell Archive...

16x20” Limited Edition Print Hand Signed by the Photographer Other sizes available. Please allow extra production time.

'Marlene Wears Christain Dior' Marlene Dietrich wearing a Christian Dior design, in Stage Fright, 1949. A stunning image of the film actress looking glamorous and decadent. (phot...

Photo-impressionist work from a birds-eye view Signed and dated on lower right, numbered on verso, 2/15 Printed later, other size available, unframed

ABOUT After 30 years of only exhibiting fine art photography, the Robin Rice Gallery is pleased to present a group exhibition featuring a selection of her gallery photographers and t...