Flower Photography

Cherry Blossoms in Central Park with a lone figure in a blue shirt set against the iconic pre-war architecture of Central Park West. Signed and dated on lower right, numbered on v...

For the past 30 years Barbara Jaffe has used her 4x5 inch view camera and a variety of black & white and expired pos/neg Polaroid films to create photographs that are a tribute to th...

Influorescense - A limited edition large scale photography collaboration by Tom Blachford and Kate Ballis. The series takes its name from the marriage of two words. Fluorescence (me...

Ginger II works well with Ginger I as a wonderful pair, displayed side by side. This is grown in my garden like many of my botanical subjects. All of my work is produced to museum a...

Pulsatilla, commonly known as Easter flower and meadow anemone. Like many of my botanical subjects this is grown in my garden. All of my work is produced to museum archival standar...

Ginger I works well with Ginger II as a wonderful pair, displayed side by side. Like many of my botanical subjects this is grown in my garden. All of my work is produced to museum...

Iris, interesting that It derives its name from the Greek word for a rainbow, which is also the name for the Greek goddess of the rainbow, Iris. Like many of my botanical subjects th...

Ginger V. Like many of my botanical subjects this is grown in my garden. All of my work is produced to museum archival standards. :: Photograph :: Color :: This piece comes with ...

Epidendrum radicans. Orchids All of my work is produced to museum archival standards. :: Photograph :: Color :: This piece comes with an official certificate of authenticity signed b...

Pulsatilla, commonly known as Easter flower and meadow anemone. Like many of my botanical subjects this is grown in my garden. All of my work is produced to museum archival standar...

Ginger I works well with Ginger II as a wonderful pair, displayed side by side. Like many of my botanical subjects this is grown in my garden. All of my work is produced to museum...

Ginger II works well with Ginger I as a wonderful pair, displayed side by side. This is grown in my garden like many of my botanical subjects. All of my work is produced to museum a...

Ginger V. Like many of my botanical subjects, this is grown in my garden. All of my work is produced to museum archival standards. :: Photograph :: Color :: This piece comes with...

Epidendrum radicans. Orchids All of my work is produced to museum archival standards. :: Photograph :: Color :: This piece comes with an official certificate of authenticity signed b...

For the past 30 years Barbara Jaffe has used her 4x5 inch view camera and a variety of black & white and expired pos/neg Polaroid films to create photographs that are a tribute to th...

Edition of 25 Signed, titled, dated and numbered in pencil on print margin and verso. Born in 1950, American photographer Shelby Lee Adams is mainly known for documenting the people...

Edition 2/15 +2 AP Sharon Johnson-Tennant is a photographer living in Los Angeles, California. She received a degree in Fine Arts from Skidmore College in New York and continued wit...

Edition 2/15 +2 AP Sharon Johnson-Tennant is a photographer living in Los Angeles, California. She received a degree in Fine Arts from Skidmore College in New York and continued wit...

Laura Letinsky Untitled #5, Guild Hall, 2013 Archival pigment print Edition of 7 Image: 48 x 37 1/2 inches Paper: 58 x 48 inches

Edition of 15 Signed by Patty Carroll Paper size: 30 x 30 in., Image size: 22 x 22 in. From the series, Anonymous Women: Domestic Demise Patty Carroll is an American photographer wh...

Edition of 5 Signed, titled, dated and numbered. Archival pigment print Paper size: 27 x 38 in., Image size: 33 x 25 in.

From "The Good Dishes" Collection Noritake 16034 with Radicchio, 2019 30" x 20" Photograph Archival Pigment Print Edition of 5 + 2 APs: $2400 Signed en verso/Signed Certificate of A...

Untitled - Galesburg (Cousin Candi's Wedding), 1997 Color coupler print 15 1/2 x 15 1/2 in. Titled in ink on margin Signed in ink on print verso by Chri...

One of a kind photograph, Unique! Hand printed by artist on Cibachrome paper.

Edition of 50 Signed, titled, dated and numbered. Paper size: 20 x 16 in., Image size: 15 x 15 in. Keith Carter is an American photographer who is known for his dreamlike black and ...

Brigitte LUSTENBERGER (*1969, Switzerland) Now is not a time , 2020 From the series 'An Apparition Of Memory' C-print 107 x 100 cm (42 1/8 x 39 3/8 in.) Edition of 5, plus 2 AP; Ed....

Edition of 15 Signed, titled, numbered, and print type by David Johndrow Printed 2010 Series: Terrestrials Platinum Palladium print, 10 x 10 in. While integrating photography and hi...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

Nobuyoshi ARAKI (*1940, Japan) Love-Dream, Love-Nothing #010, 2018 gelatin silver print 50.8 x 60 cm (20 x 23 5/8 in.) Print only – Nobuyoshi Araki Nobuyoshi Araki (Tokyo, 1940) is a Tokyo-based photographer. Araki completed his studies at Chiba University’s Department of Photography, Painting and Engineering with a focus on the study of film and photography. His photographic project Satchin earned him the prestigious Taiyo Award in 1964, shortly after he had joined the advertising agency Dentsu, where he worked until 1972. At Dentsu he met his wife Yoko, to whom he paid homage in Sentimental Journey, a photographic record of their honeymoon published in 1971. Eros and thanatos (sex and death) has been a central theme in Araki’s work; an abiding fascination with female genitalia and women’s bodies in Japanese bondage, flowers, food, his cat, faces and Tokyo street...

Brigitte LUSTENBERGER (*1969, Switzerland) I wonder if it hurts, 2021 From the series 'An Apparition Of Memory' C-print 100 x 71.5 cm (39 3/8 x 28 1/8 in.) Edition of 5, plus 2 AP; ...

"In joy or sadness, flowers are our constant friends." - Okakura Kakuzo Calla Lilies - flower study, originally taken on medium format Fujichrome transp...

One of kind photograph, Printed by the artist on Cibachrome paper.

Photo Doesn't do it justice. Printed on Cibachrome a postive very reflective archival paper. Carol Henry's photographs are made without a camera. The Flowe...

Edition of 15 Signed, titled, numbered and print type by David Johndrow Platinum Palladium Print Series: Terrestrials While integrating photography and his passion for gardening, D...

From "The Good Dishes" Collection Marchesa Camellia with Rhubarb, 2020 30" x 20" Photograph Archival Pigment Print Edition of 5 + 2 APs: $2400 Signed en verso/Signed Certificate of ...

Edition 15 Signed, titled, dated, print type and numbered by David Johndrow Platinum palladium print, 10 x 10 in. While integrating photography and his passion for gardening, David ...

A photograph by Lawrence Schiller. “Barbra Streisand (in her hotel room)” is a figurative photograph, vintage silver gelatin photograph in black and white by American artist Lawrence Schiller. The artwork is signed on the verso. Lawrence Schiller only remembers the 60s in this way: Fast. As in: Blur. Which is, for those who lived through it, as accurate a description as one is likely to find about the decade that began with optimism and ended in chaos. It was ten years of turmoil and exploration. And through this turbulent and tumultuous decade, it often seemed that whenever a headline-making news event occurred, Lawrence Schiller was there. Schiller was not just lucky to be in the right place at the right time; he was prescient. He was there to cover the event, to add to it, to help us see it, to aid its meaning and its depth. "It was a time in which things happened awfully fast," Schiller says of the decade. "It was a wild, wild period; an uncontrolled period. I don’t think you had any sense of perspective in the 60s. You had to wait and look back at it, because it was a period in which things were happening that had no rhyme or reason to it. But by the end of the ‘60s I had covered so many stories, had so many magazine covers, I had somehow become part of that decade’s history. And I already had my eye on the future." When Lawrence Schiller got the assignment from the French magazine, Paris Match to photograph Marilyn Monroe on the 20th Century Fox set of Something’s Got to Give, he thought nothing of it. It wasn’t to be a private, studio shoot. He wasn’t going to set up lights, create backgrounds, or use a tripod. Just another assignment, he figured. Monroe by then was firmly established as a figment in the imagination of most young men. The orphan Norma Jean had recreated herself as the blonde bombshell Marilyn Monroe. She’d appeared in twenty-nine films by the time Schiller photographed her in black and white and color in May, 1962. The world was unprepared for the moment when Marilyn jumped in the swimming pool in a flesh-colored bikini and came up out of the water au natural. She was all smiles and in her element: the sex goddess...

From the series Fragile Land

Stamped with photographer's estate ink stamp, inscribed with title and numbered on reverse C-type print Available in two sizes: 20 x 16 inches, from an edition of 21 + 3 PPs 24 x 20...

Okurimono 66 cm. x 200 cm. Edition 6 (+2 ap) 100 cm. x 200 cm. Edition 3 (+1ap) Euro 8,000 Pigment Print Okurimono (meaning both “gift” and “that which is in-between” in Japanese) - is a word that binds together this comprehensive project developed over five trips to Japan between 2007 and 2018. The series explores the personal pursuit of identity, at times with an underlying darkness as Houge had the chance to be introduced to Tokyo’s subculture. In exploring this theme, Houge has ventured into delicate matters such as sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The artist wishes to question the viewer and provoke a reflection on topics that are often seen as taboos in our contemporary societies. The viewer’s own associations are important in appreciating this work where ambiguity plays an important role. The project started in the Harajuku district of Tokyo which is known as a center of Japanese youth culture and where Houge found some of his first motifs: teenage girls dressing up in post-Victorian dresses or ‘cosplay’ costumes to identify with a character of their favorite comics. Here, the desire to express one’s uniqueness is central and the photographer explores the tension between personal identity and aesthetics shared by all (or at least by the same youth group). In many of his carefully staged photographs, Houge’s models are masked, so as to echo the many social masks we wear in our day-to-day lives. In our post-modern information society, drained of wonder, these enigmatic masked characters also evoke the world of shamans and pagan rituals, therefore injecting a sense of mystery and spirituality that many people are longing for. Symbolism and the many references to ritual and identity in an otherwise suppressed society, may at times create a sense of unease among viewers. The Okurimono project also explores the topic of identity and sexuality in gender dysphoria with Japan’s nyūhāfu (the transsexual ‘new halfs’). Here, the quest for identity coincides with a search of femininity and body image which results in complex physical transformations. Viewers may look at these portraits not having any clue that models are nyūhāfu. Yet, the photographs are staged so that viewers are placed in a disconcerting voyeuristic role while looking at otherwise closed world. Shibari (the art of tying), which originates from the Edo period (1600s), is another territory explored by Houge in his Okurimono series. His striking photographs of female models tied with red rope on a white background take us into this powerful journey into vulnerability and surrender, power and freedom. Through tradition, symbolism and technology, Okurimono also explores the hugely potent symbols that help define parts of Japanese culture and national identity, between old and new. As Art historian Erling Bugge put it: “Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar.” The images of the Okurimono series share a ghostly, otherworldly quality. In reality and dream, ritual and play merge while the boundaries between the known and the unknown dissolve. Christian Houge – Now – Okurimono Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar. This is pushed to the limit in the technological and virtual wonderland of Akihabara in Tokyo, where shop after shop trade in electronic products and computer games, while a weird costume play, “cosplay”, is being performed in streets. A similar kind of simulation is being acted out in the district of Harajuku, where Houge found some of his motifs. There is no authenticity here, no western “essence” or “reality”; instead, the virtual conquers the carnal body in a purified play of surface, image and the hyperreal. This is exotic. All the while as we are conscious of these notions as pinnacle points in a western idea of the post-modern. But in this sense Japan has always been “post-modern”. It has always integrated the most refined culture and technology from the outside while somehow retained an identity for itself. So, what would this identity be? Houge takes the view of ritual and play. Indeed, Japanese culture seems to be grounded solely on ritual, in business and in sex, in its relation to nature and in religion. This play transcends the notion of authenticity altogether, unlike the West which is haunted by the “ghost” of origin and beginnings. In Japan, “now” would mean just that; it is a “no looking back”, but rather a flow of intensities integrated in the play and ritual of the ever-present, okurimono. There is no threat of being eaten up by western culture and technology here, for, like in Zen practice, the ritual oversees everything and has no historical drag. Japan becomes weightless, shot into orbit outside the material of earth itself. Is acting out the role as Lewis Caroll’s Victorian girl driven by a sense of nostalgia? I think not. It is a striving for a moment of perfected presence, in dialogue with Houge’s optical machine. It is the moment of Now. The girl, the Zen garden and the image shares in a perfection modified by small uncertainties, coincidental imperfections that become somewhat oblique points of entry for us - a discarded handkerchief or seemingly unremarkable shapes and reflections in the prismatic play of surfaces. There is a ghostly, otherworldly quality in these images, even in the fleeting blossoming cherrytree and the play of shadows across a concrete minimalism. The doubly exposed or reflected light on the lens reminds us of the uncertain beginnings in photography’s history, with its widespread belief that the camera was able to perceive more than the naked eye, like spirits and ghosts. In Houge’s images there are different specters, skeletal, natural shapes on the one hand, the machine and the virtual on the other. Here, like some scene from the film Blade Runner, there is an uncanny confusion and mix between the human and non human. Maybe the search for a perfect moment in the perpetual flow of things is a romantic or melancholic longing for transcendent wholeness, a drive that is harnessed in a rigorous attention to visual detail. This compulsive discipline might seem absurd to any western observer, while longing itself form a common ground and will ultimately be the basis in our meeting. Erling Bugge Bio: Christian Houge (born in Oslo 1972) Based in Oslo, Norway, I have been making photographs for over twenty years and new insights continue to open. By exploring the relation, and conflict, between Nature and culture, I get a better understanding about Mans` condition. I am interested in the consequences of Humankinds progression and how science often is the result of our conquering of Nature, both on Earth and beyond. Mans` ego, consumer society, the last remnants of pure Nature and identity are recurring elements in my work. I often juxtapose the visually aesthetic with an underlying uneasiness. This often emanates a cognitive dissonance in the viewer to invite deeper truths and personal references. Looking at our actions and place in environment, which we are so dependent on, is a recurring theme in all my exploration and can use everything from digital cameras to large format and panoramic analog cameras for specific projects. I have exhibited extensively in galleries and museums in my native country Norway, as well as the US, England, France and China. The series `Death of a Mountain`(2016-2021) is nominated for the 2021 Leica Oskar Barnack Award, as well as receiving an arts grant from Norwegian Arts Council. Most recently, my series `Residence of Impermanence` 2017-2019 has been exhibited at five museums and several galleries already (including a solo show at Fotografiska, Stockholm (2019), and Les Recontres d`Arles, Haugar Artmuseum, Preus Muaeum of Photography and 2019 (Galerie Omnius, Arles). In 2021, this series received ten nominations for the Prix Pictet Award with the theme FIRE. `Residence of Impermanence` is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.` This exhibition explores the ever-worsening forest fires due to climate change. In 2005, my series `Arctic Technology`, was shortlisted for the BMW Prize at Paris Photo (Scout Gallery, London). In 2015, my series `Paradise Lost`(containing three of my main environmental series) toured between three large museums in China. My other environmental work has been nominated for the annual Prix Pictet Award twice, with my series, `Barentsburg` and `Shadow Within`, for both Earth and Power themes. In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London). My work has been shown in numerous museums, including a symposium at Johnson Museum, N.Y., was included in traveling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice`, as well as a two-year museum tour in China environmental issues with Three Shadows Photography Art Centre in Beijing and the Norwegian Embassy. Publications/books include `Vanishing Ice`and `Altered Landscape` (Nevada Museum of Art), including purchased work for their collection at Center for Art and Environment. Selected exhibitions CV: Christian Houge (born in Oslo 1972) - Curriculum Vitae 2021 `As far as my Eye can Sea – The Expedition Exhibition` Rev Ocean, Bomuldsfabrikken Kunsthall, Arendal `Facing Fire`, Collaborative, UCR ARTS:California Museum of Photography Continuation `Death of a Mountain`/ In;Human Nature`, Buer Gallery, Oslo 2020 `Facing Fire`, Collaborative, UCR ARTS:California Museum of Photography 2019 `Metafysica`, `Residence of Impermanence`,collaborative, Haugar Kunstmuseum, Vestfold `Residence of Impermanence`, Fotografiska Museum, Stockholm. Solo `Helt Dyrisk` Residence of Impermanence`, collaborative, Preus Museum, Horten `Residence of Impermanence`, Galleri Fineart, Oslo. Solo 2017 `Shadow Within/Rituals` Gulden Kunstverk, Drammen. Solo Commission, MAAEMO restaurant. `In;Human Nature` `Mirror,Mirror` Hosfelt Gallery, San.Fran. Collaborative w/Ed Ruscha, Adam Fuss, Liliana Porter 2016 `In;Human Nature`, TM51 Gallery, Oslo. Solo Fotofever/ParisPhoto, Louvre, Paris Cornette de Saint Cyr, Auction, Paris 2015 Three Shadows Photography Art Center, Beijing, China. `Paradise Lost` . `Arctic Technology/Barentsburg`/ Shadow Within. Solo Fotofever (ParisPhoto), Artistics Art Gallery, Paris. Collaborative How Art Museum, Wenzhou, China. `Paradise Lost` Arctic Technology/Barentsburg/Shadow Within. Solo Redtory, Guangzhou, China. `Paradise Lost` Arctic Technology/Barentsburg/Shadow Within. Solo 2014 Fineart Gallery, Oslo `Shadow Within` 2010-2013 / `Darkness Burns Bright` 2013/2014. Solo Beyond Earth Art • (contemporary artists and the environment) Johnson Museum of Art, New York. Shadow Within. Collaborative (incl. Olafur Eliasson, Edward Burtynsky, Mathew Brandt, Yun-Fei Ji amongst others) The El Paso Museum of Art, Texas. `Arctic Technology`. Collaborative Glenbow Museum, Alberta. `Arctic Technology`. Collaborative LIFF (Lofoten International Photofestival) `Shadow Within` w/speaking. Solo 2013 Nominated for the Prix Pictet Award/ `Shadow Within`. Hosfelt Gallery, San.Fran. USA. `Shadow Within`. Solo Accompanied by Call of the Wild`( Joseph Beuys, Ed Ruscha, Patricia Piccinini and Alan Rath...

Second Hand Flowers Nr. 47 is a unique photo work of German artist Karin Elmers. C-print on photographic paper mounted on alu-dibond under 3mm acrylic. Easy hanging mechanism on bac...

Nobuyoshi ARAKI (*1940, Japan) 69YK #55, 2009 Gelatin silver print 60 x 50.8 cm (23 5/8 x 20 in.) Print only Nobuyoshi Araki (Tokyo, 1940) is a Tokyo-based photographer. Araki completed his studies at Chiba University’s Department of Photography, Painting and Engineering with a focus on the study of film and photography. His photographic project Satchin earned him the prestigious Taiyo Award in 1964, shortly after he had joined the advertising agency Dentsu, where he worked until 1972. At Dentsu he met his wife Yoko, to whom he paid homage in Sentimental Journey, a photographic record of their honeymoon published in 1971. Eros and thanatos (sex and death) has been a central theme in Araki’s work; an abiding fascination with female genitalia and women’s bodies in Japanese bondage...

“Nature creates nothing without the purpose” - Aristotele Anthurium - flower study, originally taken on medium format Fujichrome transparency colour film in the studio setting, in 1...

MILES ALDRIDGE (*1964, Great Britain) Venus Etcetera (after Veronese) 2021 Screenprint in colours with silver ink Image 109 × 150 cm (42 3/4 × 59 in.) Sheet 121 × 162 cm (47 3/4 × 6...

Brigitte LUSTENBERGER (*1969, Switzerland) Are you here or just a memory, 2023 From the series 'An Apparition Of Memory' C-print 100 x 72 cm (39 3/8 x 28 1/4 in.) Edition of 5, plus ...

From the series Fragile Land

Pamela Ellis Hawkes's innovative photography revitalizes antique traditions of still life painting with a playful contemporary spirit and a keen eye for seductively mysterious beauty...

Calla Lilies • 2005 • Edition of 18 prints in 3 different sizes. All prints are numbered and signed. Printed on Hahnemühle Archival Paper. Three different sizes are available, the ...

My present focus, ‘From a Scanner, Darkly,’ began when I had no time to work with film. Instead, a scanner and a computer became my substitute for photosensitive materials and a ...

My present focus, ‘From a Scanner, Darkly,’ began when I had no time to work with film. Instead, a scanner and a computer became my substitute for photosensitive materials and a ...

My present focus, ‘From a Scanner, Darkly,’ began when I had no time to work with film. Instead, a scanner and a computer became my substitute for photosensitive materials and a ...

My present focus, ‘From a Scanner, Darkly,’ began when I had no time to work with film. Instead, a scanner and a computer became my substitute for photosensitive materials and a ...

My present focus, ‘From a Scanner, Darkly,’ began when I had no time to work with film. Instead, a scanner and a computer became my substitute for photosensitive materials and a ...

The history of photography is replete with examples of image capture without a camera. My present focus, ‘From a Scanner, Darkly,’ began when I had no time to work with film. Ins...