Furniture Photography

"I wanted Christina to learn some responsibility for cleaning her room, but it didn't work." Edition of 15 Gelatin silver print, 11 x 14 in. Signed, numbered, and dated in pencil wi...

ALAIN DAUSSIN Signed by the artist on the back and certificate Format 40X50 cm Baryta paper Numbered /30 ex Selling price : 1980 euros

Table de bistro parisienne après une averse ventée

Laura Letinsky Untitled #4, Guild Hall, 2013 Archival pigment print Edition of 7 Image: 37 1/2 x 29 5/8 inches Paper: 48 x 39 1/2 inches

Stéphane COUTURIER (*1957, France) E1027/123 – Villa Eileen Gray – Photo #24, 2021-2022 C-Print 140 x 116 cm (55 1/8 x 45 5/8 in.) Edition of 5 Signed In 1994, Stéphane Couturier sh...

Susan Swihart is a photographic artist, born and raised in Massachusetts, now living in Los Angeles, CA. Her photographs are enquiries into the nature of identity and the persistence of memory. She received a BS in Art with a Concentration in Visual and Media Design from Northeastern University. A two-time Critical Mass finalist, her work has been included in numerous solo and group shows and collected Internationally. Susan Swihart If Only A personal narrative of self portrait work that explores the challenges of being a wife, mother, artist, daughter and friend in the middle of a crossroads, at the middle of my life, not quite sure who I am now or what direction I am heading. It’s a period that feels out of balance, a time where I struggle with the concept of aging and lost youth and the pursuit of having it all when I’m not really sure I want it. Often feeling that the person I thought I was has disappeared, replaced by familial needs and that slow and steady march through time as I shepherd my family forward. I am a participant observer in a life where I watch my children grow and take our place, while at the same time observe parents deteriorate. I’m lost somewhere in the middle with little room or time for personal growth or a clear understanding where I fit on the spectrum of my life. Not much time to reflect, but plenty of time...

Susan Sterner Mama ya se fue, 2009 Archival pigment print Framed Dimensions: 14 3/4 x 17 3/4 inches (37.5 x 45.1 cm) Image Dimensions: 7 x 10 inches (17.8 x 25.4 cm) Edition 1/10

DOMINIQUE TEUFEN (*1975, Switzerland) Je te quitte maintenant de ma plume, mais jamais de mon coeur 2011 7 Photographs face-mounted to Acrylic (Diasec) 1x70/100cm, 2x 60/84cm, 2x 40/60cm, 2x30/45cm Total 84 x 193 x 3 cm (33 1/8 x 76 x 1 1/8 in.) Dominique Teufen was born in Davos Switzerland in 1975. After following a two years stone sculpting class in Zürich, she moved to Amsterdam and received her BA in Sculpture from the Gerrit Rietveld Academy in 2002. In the following years she worked and exhibited in Melbourne, Zürich, London and New York. After moving back to Amsterdam, she attained her Master of Fine Art in 2010 at the Academy for Art and Design St. Joost in S’Hertogenbosch the Netherlands. Since 2011 she lives and works in Zürich and Amsterdam. With Teufen’s education in Sculpture and fine Arts, material-experiments make up an important part of her work. Curious and fascinated by photography, she investigates and engages in differ- ent processes and mechanisms before she takes her photographs. With her specific use of pho- tography, she not only examines the field of tension between two- and three dimensionality, but also explores the area where reality and illusion lose their specific definition and where different possible realities can be visualized. Teufen has participated in various solo and group exhibitions worldwide, including at the Chris- tophe Guye Galerie, Zürich, Kunsthalle Wil/St. Gallen as well as Kunstraum Aarau. Furthermore, Teufen has been exhibited with Thomas Ruff, Wolfgang Tillmans and Viviane Sassen, among others at NRW Forum in Düsseldorf, at Museum für Fotografie Berlin and Kunsthalle Darmstadt as part of the group exhibition ‘Bauhaus and Photography’. In connection with the HSBC Photogra- phy Award 2019, she was exhibited in the travelling exhibition of the two winners in Paris, Arles, Bordeaux and Metz. She has received numerous awards, including the Vfg. Nachwuchsförderpre- is der Fotografie 2013, the Lensculture Emerging Talent Award 2018 and the HSBC Photography Award 2019. – Art, Contemporary, Photography, Fine Art, Abstract, Landscape, Light, Black and White...

Signed in black ink on print verso by Birney Imes From the series, Juke Joint Born in 1951 in Columbus, Mississippi, photographer Birney Imes is mainly known for his compelling photographs of the people, communities, rural landscape and the colorful juke joints of the American South, most notably the Mississippi Delta...

Signed in black ink on verso. From the series, Juke Joint Born in 1951 in Columbus, Mississippi, photographer Birney Imes is mainly known for his compellin...

Edition of 35 Signed, titled, dated, and numbered pencil on print verso by Keith Carter Gelatin silver print, 15 x 15 in. Keith Carter is an American photographer who is known for h...

Edition of 12 Digital c-print Signed, titled, dated and numbered by Jeffrey Silverthorne Jeffrey Silverthorne was an American photographer known for photographing the dead at the st...

Okurimono Pigment Print Images from the Okurimono series is available in 3 different formats : * 50 x 75 cm : edition of 10 + (+2ap) * 80 x 120 cm : edition of 7 + (+2ap) * 113 x 170 cm : edition of 7 + (+2ap) Each print is numbered and signed About the work : Work by contemporary photographer Christian Houge, from the Okurimono series. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays an important role. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays a 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...

Bodegón de la Candelaria, Cartagena, Col. is a black and white photograph of an interior space, with two rocking chairs resting on a checkered tile floor. Selenium toned gelatin sil...

Okurimono Pigment Print Images from the Okurimono series is available in 3 different formats : * 50 x 75 cm : edition of 10 + (+2ap) * 80 x 120 cm : edition of 7 + (+2ap) * 113 x 170 cm : edition of 7 + (+2ap) Each print is numbered and signed About the work : Work by contemporary photographer Christian Houge, from the Okurimono series. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays an important role. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays a 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...

Lorenzo Agius (b.1962) Madonna and the Monocle 2005 digital C-Type print 60 x 48 in. / 40 x 30 in. / 24 x 20 in. signed and numbered printed later This wo...

archival pigment print

Giclée Fine Art Print limited edition 1/10 Printed on FOMEI Collection Baryta Mono 290 gsm/ Museum quality fine art paper Each edition is numbered and signed by the artist...

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 Japanes...

Okurimono Pigment Print Images from the Okurimono series is available in 3 different formats : * 50 x 75 cm : edition of 10 + (+2ap) * 80 x 120 cm : edition of 7 + (+2ap) * 113 x...

The result of twelve trips over three years, Moore’s work in the American South uses historic homes, both grand and modest, the preserved backroom of a Jewish social club, the curta...

Edition of 10. Fujicolour / DMEL: professional photo paper (from Kodak).

black + white toy-camera image from the series 'my affair with diana' 10x10 image size in edition of 50 (price increases as edition sells). printed on hahnemuhle bamboo su...

A dark metal chair and its shadow on a grey concrete floor :: Photograph :: Black & White :: This piece comes with an official certificate of authenticity signed by the artist :: Rea...

A red chair and its shadow :: Photograph :: Color :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: No :: Signed: Yes :: Signatu...

Tiger Morris 1964 (printed later) Chromogenic print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Socialite and fashion design...

Robin Rice is a successful gallerist and photographer having spent the past 40 years living and working in New York City and Bridgehampton. While still the owner of the Robin Rice Ga...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 25. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced...

This work is unique. Stamped twice on the reverse by both The Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts. The Andy Warhol Foundation for the Visual Arts...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 25. If the exhibition piece is sold or the customer orders a different print size, the photograph is prod...

Karla HIRALDO VOLEAU (*1992, French-Dominican) Millis out, 2024 Inkjet on Hahnemuhle Photo Rag Baryta 44 x 60 cm (17 3/8 x 23 5/8 in.) Edition of 3 plus 2 artist's proofs Signed by t...

archival pigment print

Golden rays rim light a single figure sitting on a Central Park Bench. He becomes more of a shape than a specific individual and, as such, blends i...

Massimo Listri Museo Storia Naturale, Venezia 2022 C print Signed, dated, and numbered on verso label 39.5 x 47.5 inches (100 x 120 cm) edition of 5 - $12,500 47.5 x 59 inches (1...

14" x 11" Unframed 1/15 Archival Giclee Print Hand Signed by Alice Zilberberg "The Death of “Happily Ever After” is a dark reimagining of Disney’s fairy tales. These stories were o...

Visitors, 2020 Archival pigment print Image 75 x 75 cm (29 1/2 x 29 1/2 in.) Sheet 91 x 91 cm (35 7/8 x 35 7/8 in.) Edition of 3 (#2/3) Print only After photographing exclusively in...

Slim Aarons Eden Hartford 1954 (printed later) Silver gelatin print estate signature stamped edition of 150 with certificate of authenticity Actress Eden Hartford, sister to Dee, i...

Michael WOLF (1954 – 2019, Germany) Transparent City #32, 2007 C–print Sheet 121.9 x 162.5 cm (48 x 64 in.) Edition of 9, plus 2 AP; Ed. no. 2/9 Prin...

Slim Aarons Tania Mallet 1961 C print Estate signature stamped edition of 150 with certificate of authenticity. 1961: Actress Tania Mallet relaxes on a ...

Split Personality by Patty Carroll is a color photograph depicting a duo-toned interior. Bright green and blue shades divide the room in half, with arms and legs emerging from the fu...

This is a unique work. Image dimensions: 8 x 10 in. Framed dimensions: 16.5 x 18 in. Work comes with a Certificate of Authenticity from The Andy Warhol Foundation for the Visual ...

Austrian actress Mara Lane lounging by the pool in a red and white striped bathing costume at the Sands Hotel, Las Vegas, 1954. Estate stamped and hand numb...

New England Skiing 1955 (printed later) C-print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Two women recline on improvised su...

Palazzo d'Avalos I, Napoli, 2016 C print Edition of 5 Available in 3 sizes 100 x 120 cm (40 x 47 inches) Edition of 5 120 x 150 cm (47 x 59 inches ) Edition of 5 180 x 225 cm (71...

This work is unique. Work comes with a Certificate of Provenance. Stamped on the verso by the Estate of the Artist and The Andy Warhol Foundation for the Visual Arts. Foundation numb...

black + white toy-camera image from the series 'my affair with diana' 10x10 image size in edition of 50 (price increases as edition sells). printed on hahnemuhle bamboo sustai...

Biblioteca Teresina I, Mantova 2018 Chromogenic Print mounted on aluminum Signed, dated, and numbered on verso 39.5 x 47.5"/ 100 x 120 cm Edition of 5 47.5 x 59" / 120 x 150 cm Edit...

Princess Pia Poolside 1980 Chromogenic Lambda print 40 x 30 inches Estate stamped and hand numbered edition of 150 Princess Pia Ruspoli laying on a lounger by a swimming pool on th...

Accademia delle Belle Arti San Pietroburgo, Russia Lambda print Signed, titled, dated and numbered (edition of 5) on artist's label on verso. Mounted to alu...

Photograph of a bench at the coast of Normandy, France. Edition: 8 plus 2AP's. Photograph has a white border. Printed on Hahnemule bright white paper. This photograph is one of a se...

Biblioteca Teresina I, Mantova 2018 C print 39.5 x 47.5 inches edition of 5 47.5 x 59 inches edition of 5 71 x 88.5 inches edition of 5 The photographer is based in Florence, an...

Biblioteca dell'Ospedale degli Innocenti, Firenze, 2009 C print 39.5 x 47.5 inches edition of 5 47.5 x 59 inches edition of 5 71 x 88.5 inches edition of 5 The photographer is b...

This image, taken in Cuba during the artist's visit in 1997, was part of a collaboration with author Andrei Codrescu, and resulted in the publication of a 1999 book entitled "Ay, Cub...

This photo is printed on an archival pigment print and then mounted on a 1/4" Plexiglas and comes ready to hang.

This photo is produced on an archival pigment print and then mounted on a 1/4" Plexiglas and comes ready to hang.

Kampos Project #5 (Flowers in a Vase on a Nightstand), 2016 Archival pigment print on Hahne Muehle 200 gm Edition of 7 20 x 35 cm - $1200 40 x 60 cm - $1900 70 x 90 cm - $2900 Stra...

Kampos Project #3 (Two wWomen at the Table), 2016 Archival pigment print on Hahne Muehle 200 gm Edition of 7 20 x 35 cm - $1200 40 x 60 cm - $1900 70 x 90 cm - $2900 Stratis Vogiat...

Inner World #2, 2016 Archival pigment print on Hahne Muehle 200 gm Edition of 7 20 x 35 cm - $1200 40 x 60 cm - $1900 70 x 90 cm - $2900 Stratis Vogiatzis was born on 12th of Janua...