Building Photography

Kalli Brelsford Downtown Views – Looking Up Year: 2024 Archival Pigment Print on Hahnemuehle Baryta Rag Framed Size: 13 x 13 x 0.25 inches COA provide...

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...

Paul Middleton Westport 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 bl...

New York Cityscape, panorama photograph capturing the Manhattan skyline from Richard Heeps series, The Streets of New York. This artwork is a limited edition of 25 gloss photographic print from negative, dry-mounted to aluminium, presented in a museum board white window mount and a choice of black or white box frame. It is signed and numbered on reverse accompanied by a certificate of authenticity. Handmade to order, this artwork is available unframed and in other sizes. It pairs well with other Richard Heeps artworks in our 1stdibs store. “Richard Heeps' seductive, highly-saturated colours and sophisticated pictorial structures demonstrate a true love and empathy for this subject matter – be it cool, descriptive interiors, still life or landscape.” His distinctive style pushes the limits of photography. The collectable and affordable, hand-printed colour photographs combine the best in traditional processing with the latest archival materials – from photographic paper to mounting with a 100% cotton museum board. His artwork has been bought by many international collectors. Exhibitions Include: Royal Academy of Arts London, Photoville Brooklyn, The Photographers Gallery London, The Spitz Gallery London, Kettle's Yard Cambridge, Norwich Arts Centre. The Civic Centre Thurrock, 20-21 Visual Arts Centre Scunthorpe, Rochester Art Gallery, Preston Hall...

Black and white fine art long exposure cityscape - landscape photography. Archival pigment ink print as part of a limited edition of 20. All Gerald Berghammer prints are made to orde...

Nick Vedros Brooklyn Bridge 1875 Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 2001 Size: 8x12in Edition: 15 Signed, dated and numbered by hand on label Stamped COA ...

Basilica - Limited edition pigment print - Limited Editions of 5 Girona's Basilica, Spain Signed + numbered by artist with certificate of authenticity. Archival pigment print a...

Emerging from dereliction… new buildings arise in the shadow of Battersea Park Power Station. – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers ...

Tibet is a place of ancient and modern myth. Today’s reality is far from the picture postcard of Lhasa’s monasteries… it is instead a world rapidly being subsumed into modern China....

Modernity and repetition in New York City – High-rise communal living was once seen as a great step forward for mankind. Cawston’s Tenement series captures the individual within the...

The past reborn in the modern… the Paris Opera House reflected in one of the oldest department stores in the world. – The Spaces in Between series developed out of visits to Naples ...

Grain silos in pastel colours in the South of France. The muted colours are enhanced by a splash of yellow where corn has been spilt on the tarmac. – Cawston’s Concrete Jungle is no...

Emerging from dereliction… new buildings arise in the shadow of Battersea Park Power Station. – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers ...

Rising like a phoenix from the dereliction of Battersea Power Station, London. – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers with comfortable...

Giant silos seem to twist to the heavens. Salvador Brazil – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers with c...

Rising like a phoenix from the dereliction of Battersea Power Station, London. – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers with comfortable...

Modernity and repetition in New York City – High-rise communal living was once seen as a great step forward for mankind. Cawston’s Tenement series captures the individual within the...

The past reborn in the modern… the Paris Opera House reflected in one of the oldest department stores in the world. – The Spaces in Between series developed out of visits to Naples ...

Tibet is a place of ancient and modern myth. Today’s reality is far from the picture postcard of Lhasa’s monasteries… it is instead a world rapidly being subsumed into modern China....

Grain silos in pastel colours in the South of France. The muted colours are enhanced by a splash of yellow where corn has been spilt on the tarmac. – Cawston’s Concrete Jungle is no...

Giant silos seem to twist to the heavens. Salvador Brazil – Cawston’s Concrete Jungle is not a vision of the ultramodern, of orderly skyscrapers with c...

Late afternoon golden light reflects off the metallic facade of the Twin Towers, turning them into two graphic shapes that tower above the lower Manhattan skyline. Glittering reflect...

Jack Hayhow Title: John Moulton Barn Photographic Print on fine Paper Year: 2020 Size: 24x36 inches Description: Available in multiple sizes - please inqu...

Edition of 45 Signed, titled, dated, print date, numbered and artist stamp by Michael Kenna Sepia toned gelatin silver print Michael Kenna's black and white photographs are powerful...

Color Photographer Mithcell Funk captures a magical moment when light strikes the Throgs Neck Bridge in New York City. Muted autumn colors interact in a syncopated rhythm producing ...

Fifth Avenue, New York, New York, USA by Michael Kenna is a limited edition black and white photograph depicting an aerial view of a city street at night. Edition of 45 Signed, tit...

Light streams through a window illuminating an alcove in Hadrian’s Palace in Rome. A place to meditate over a book perhaps or record one’s thoughts in journal – The Spaces in Betwe...

Finely detailed hand tinted color landscape photograph of Stanford Memorial Church produced by Bear Photo Service (American, 1930s). Photographer is unknown. Numbered 904 bottom right. Displayed in a rustic gilt-toned wood frame with antique glass. Image size: 7"H x 11"W. Stanford Memorial Church is located on the Main Quad at the center of the Stanford University...

The three-figure formation in the foreground is echoed in the three-building formation in the background. Signed, dated, numbered lower right, recto. Edition 3 of 15, Unframed. Other...

Spring Snowstorm Through Classroom Window Gates Avenue, Bushwick, Brooklyn, NY April 1982 Signed, titled, dated, and numbered, verso Archival pigment print (Edition of 10 + 2 APs) ...

Rockface 27 by Andrew Buck archival pigment print, edition of 5 44 x 44 inches framed Print is dry mounted without glazing (no glass). Black metal frame is approx 1/2 inch face widt...

Heinz Finke Florence (City Photography, Italy, Firenze, Black & White Photography) Photograph Titled by hand, verso size: 8.4 × 6.6 inches COA provided (gallery issued) Heinz Finke (born January 27, 1915 in Haldensleben ; November 28, 2007 in Konstanz ) was a German photographer and photojournalist. Heinz Finke, whose father died in the First World War , was forced into the Reich Labor Service in 1935, later as a "PK-Bildberichter" for the army newspaper "Der Sieg" in the Propaganda Company 625 of the Wehrmacht . There he met the journalist Hans Bayer , who became known as " Thaddäus Troll " after the war . After the end of the war he settled in Wertheim am Main and founded the "Wertheimer Pressedienst". Among other things, he worked for the then publisher and later Federal President Theodor Heuss . As the holder of one of the rare American press licenses, he was like for several daily newspapersFränkische Rundschau , Main-Post , Mannheimer Morgen and Hannoversche Allgemeine work as text and image authors. Finke lived since 1951 in Konstanz and was Ullstein people to the publisher for the recent Berliner John Weyl founded Südkurier active in Konstanz as a press photographer. He became known as a photo reporter in the post-war years, especially with his photo reports, for example about Theodor Heuss , Albert Schweitzer , Willy Brandt and Konrad Adenauer...

Chelsea Manhattan Street Art photographed in 2012 at the famed Comme Des Garcons, New York flagship store, by celebrated New York downtown photographer Fernando Natalici. C-Print on...

Rebecca Skinner’s “Domino Room” was photographed at the abandoned Scranton Lace Factory in Pennsylvania and is part of a series documenting the loss of industry in America. Large win...

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 9. All Gerald Berghammer prints are made to orde...

Vintage poster after a photograph by Franco Fontana, published in occasion of an exhibition of the photographer in 1967. Very good conditions.

Black and white fine art long exposure waterscape - landscape photography. Manhattan skyline with breakwater in foreground, New York city, USA. Archival pigment ink print as part of ...

Fine art print. Signed, limited edition of 5.

Fine art print, photo, available in different sizes, done in NY.

Fine art print, photo, also available in different sizes.

Fine art print, photo, also available in different sizes.

Vintage View on the city of Taijuan is a b/w photographic print on polished paper, taken very likely in 1938 by Press Photo, Berlin. Stereotype in German on the back...

Jun AHN (*1981, South Korea) Self-Portrait (New York), 2011 Archival pigment print, , face mounted to Acrylic (Diasec) Brown flame stained and hardened wood frame Sheet 76.2 x 101.6...

Laurent Chéhere, a French photographer born in 1972 in Paris, makes images of flying houses and other dwellings that are informed by his wanderings in the hidden neighborhoods of Paris and by his love of cinematic history. Most of his photographs carry references of forgotten stories, Parisian neighborhood and architecture and pay a tribute to classic movies, such as "The Red balloon...

Paris - Nude in front of Musée de l´Homme

Signed, dated, numbered lower right, recto 3/15, unframed, other sizes available, Printed on Hahnemühle Fine Art paper Mitchell Funk is a "Color Photographer Pioneer". He was colo...

Silver Gelatine Print by Erich Andres, ca 1955. Andres was born 1905 in Germany and passed away 1992. He started his career as a photographer in 1920. He was one of the first photogr...

David Armentor says, "The Sugar Mill Sessions focuses on sugar production in Southwest Louisiana. It attempts to give a localized, romantic view of the industry by documenting harvest seasons of the sugar mills, Cajun Co-op, Louisiana Sugar Cane Co-op and Enterprise. With the sugar industry as a passive backdrop to my upbringing, it was natural for me use its distinctive characteristics as indicators of "home" even after relocating as an adult. Originally, this work began in 2004 with the intention of capturing these traits in a purely formal documentary fashion, following the discipline of "photograph what you know." I worked mostly at night during the harvesting season months of September through January, which gave way to a more expressive capture of the industry. This direction allowed me to give a unique perspective to an industry where sense of place is often viewed as burdensome or vexatious. Unique lighting conditions along with modernistic compositions allow the images more gentle, hushed qualities while remaining grounded in the innate industrial masculinity -- something easily overlooked by those familiar with the landscape. 'The Sugar Mill Sessions' is an ongoing body of work which has evolved going forward. Historically great artists have explored this complex industry that is ingrained in the Southern culture as it has a continual ability to serve as an umbrella for flavorful artistic expression, critique and research." Gulf coast native David Armentor is an artist who has been working in the photographic medium since 2002. He received a BA from Louisiana State University where he learned the craft of traditional photographic print making. After graduation he taught photography classes for the Baton Rouge Arts Council and worked as a freelance photographer until moving to Seattle, WA, where he continued his photographic endeavors with the Benham Gallery as the gallery manager and guest artist. He now resides in New Orleans, LA, and is the founder of St Veronica...

These are two prints that can be paired together. Both are 20 x 30 in. (image) prints, landscape pictures of New York City, featuring fine art photography of Times Square and the fam...

Signed , Dated lower right and numbered recto 3 /15, Unframed, Other sizes available, Printed on Hahnemühle Fine Art paper Mitchell Funk is a pioneer of " Color Photography" In 19...

A beautiful black and white photograph of the ship "Balclutha" in dock, with Coit Tower in the background by famed San Francisco photographer Gene Wright (American, 20th Century). Im...

This is a beautiful New York City landscape photograph by an award winning photographer. Our gallery has the most extensive art photography of New York City...

This is a beautiful New York City black and white landscape photograph by an award winning photographer. Our gallery has the most extensive art photography of New York City, due to o...

"A Dance in the Moonlight" a Lithobrome photograph by Sigismund Blumann (American, 1872-1956). Signed "Sigismund Blumann" lower right. The blue color is the artist's own invention using a copper sulphate toning process. Unframed. Titled "A Dance in the Moonlight" on verso. Image size, 13.25"H x 10.5"W. Sigismund Blumann (1872–1956) was a prominent tastemaker in Californian photography during the 1920s and 1930s. Based in the San Francisco Bay Area for his entire career, he edited magazines, wrote books, and made creative photographs. From 1924 to 1933 Blumann edited Camera Craft, the leading West Coast photographic monthly. Subsequently he established his own periodical, Photo Art Monthly, which he published until 1940. In these two magazines — for over fifteen years — Blumann found a large audience of mainstream pictorial photographers. In addition, he wrote five instructional books on photography...

Edward Hopper's sense of late light combined with the isolation and desolation of New York is depicted in color photography by Mitchell Funk. Golden light paints 70's New York in a m...

Edition 2 of 45 Michael Kenna is a master of contemporary photography. Known for clean compositions, long exposures and minimalist aesthetics, Kenna’s signature style remains high...

Award winning photographer Alejandro Cerutti presents cityscape, art photography of New York City. Recognized in the international photog...

Laurent Chéhere, a French photographer born in 1972 in Paris, makes images of flying houses and other dwellings that are informed by his wanderings in the hidden neighborhoods of Par...